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JANUARY 24-30, 2018 • VOLUME 48 NO 30 Dedicated to Free Times founder Richard H. Siegel (1935-1993) and Scene founder Richard Kabat Group Publisher Chris Keating
CONTENTS
Publisher Andrew Zelman Associate Publisher Angela Nagal Editor Vince Grzegorek Editorial Managing Editor Eric Sandy Music Editor Jeff Niesel Senior Writer Sam Allard Staff Writer Brett Zelman Web Editor Laura Morrison Dining Editor Douglas Trattner Stage Editor Christine Howey Visual Arts Writers Dott von Schneider Copy Editor Elaine Cicora Intern Lawrence Neil Advertising Senior Multimedia Account Executive John Crobar, Shayne Rose Multimedia Account Executive Kiara Davis Events and Marketing Coordinator Maggie Lilac Creative Services Production Manager Steve Miluch Layout Editor/Graphic Designer Christine Hahn Staff Photographer Emanuel Wallace
Upfront
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Cleveland’s secret Amazon bid dramatizes a cultural problem in the city, plus the rotting soul of the Cuyahoga County Democratic Party
Feature
13
An oral history of the “Akron compilation,� the album that was supposed to make the city the next Nashville
Business Sales Assistant/Receptionist Megan Stimac Controller Kristy Dotson
Get Out!
Circulation Circulation Director Don Kriss
All the best things to do in Cleveland this week
Euclid Media Group Chief Executive OfďŹ cer Andrew Zelman Chief Operating OfďŹ cers Chris Keating, Michael Wagner VP Digital Services Stacy Volhein Digital Operations Coordinator Jaime Monzon www.euclidmediagroup.com National Advertising Voice Media Group 1-800-278-9866, voicemediagroup.com Cleveland Scene 737 Bolivar Rd, #4100 Cleveland, OH 44115 www.clevescene.com Phone 216-241-7550 Retail & ClassiďŹ ed Fax 216-241-6275 Editoral Fax 216-802-7212 E-mail scene@clevescene.com Cleveland Scene Magazine is published every week by Euclid Media Group. VeriďŹ ed Audit Member Cleveland Distribution Scene is available free of charge, limited to one copy per reader Copyright The entire contents of Cleveland Scene Magazine are copyright 2018 by Euclid Media Group. Reproduction in whole or in part without written permission of the publisher is prohibited. Publisher does not assume any liability for unsolicited manuscripts, materials, or other content. Any submission must include a stamped, self-addressed envelope. All editorial, advertising, and business correspondence should be mailed to the address listed above. Subscriptions $150 (1 yr); $80 (6 mos.) Send name, address and zip code with check or money order to the address listed above with the title ‘Attn: Subscription Department’
Stage
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33
Crust expands its footprint and its menu
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Drone warfare destroys more than just its targets in Grounded at Dobama
Movies
31
American Folk is a Once knockoff worth skipping
Eat
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Everything you already loved about Crust plus more at its new home in Tremont, plus big moves for Geraci’s
Music
Mother love
...The story continues at clevescene.com
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The Ben Miller Band evolves, Jonah Koslen revisits his back catalog, plus all the shows to see this week
Savage Love
Photo by Emanuel Wallace
Take
SCENE with you with the Issuu app! “Cleveland Scene Magazine�
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UPFRONT THE SECRET AMAZON BID ILLUSTRATES A BIG CULTURAL PROBLEM IN CLEVELAND
THIS WEEK
LAST WEEK, SCENE JOINED Jay Miller of Crain’s Cleveland Business and Danielle Serino of WKYC for a panel discussion about Cleveland’s failed Amazon bid on the WKYC evening program Donovan Live. Jimmy Donovan, the voice of the Browns and the host of the show, was keen to ask the panel why Cleveland didn’t make Amazon’s HQ2 shortlist. This is the question that folks are most curious about after the news, last week, that the Seattle-based online giant had selected 20 cities from a pool of 238 applications for consideration as the site of its second corporate headquarters. Cleveland was not among the final 20, but the question of “why” remains impossible to answer. The city of Cleveland, Cuyahoga County and the private organizations who together crafted Cleveland’s HQ2 bid have refused to release its contents — this has been publicized chiefly by Cleveland. com’s Mark Naymik — so all the local press can do, when assembled for commentary, is shrug and speculate. But impaneling Scene, Crain’s and WKYC was both bizarre and illuminating, in the sense that our stated views described something approaching consensus. Together, we occupy about as broad a range of perspective as you’re likely to find among Cleveland media outlets: the pouty, antiauthoritarian alt-weekly; the glossy, buttoned-up business press; and the TV news station favored among the 70-plus set. Each of us obviously had different ways of
BUDISHTOO
expressing our positions, but we all felt that there was something deeply amiss about the secrecy of the Amazon bid. The Donovan Live segment was a brisk five minutes, so it was difficult to delve into the many problems that the secrecy evokes. But the secrecy is not an isolated event. It exemplifies an enormous cultural problem in Cleveland that, if unchecked, will continue to undercut the region’s success. With respect to the matter at hand (i.e., the Amazon bid secrecy), Scene’s position is that the response from local media needs to be a strong and unified demand for Cleveland mayor Frank Jackson, Cuyahoga County executive Armond Budish, the Greater Cleveland Partnership’s Joe Roman, Team NEO’s Bill Koehler, the Northeast Ohio Areawide Coordinating Agency’s Grace Gallucci and the rest of the regional leaders who worked on the bid to release it immediately. Mark Naymik has been badgering these agencies hard and often, and we all ought to follow his lead. We mustn’t accept these leaders’ excuses and we mustn’t print their quotes without a ruthless annotation of their quotes’ senselessness, which senselessness should be noted as a hallmark of their recurring failures as elected and civic leaders working for the purported “public good.” In the first place, their lone justification for keeping the bid’s information confidential has disappeared. Recall that when Cleveland submitted its bid, back in October, reporters were told that its
EBay announces Akron as first site for “Retail Revival” program that’ll provide small businesses with entrepreneurship training. Not to be outdone, Armond Budish announced he completed a Lego Amazon HQ2 over the weekend.
WELTERWEIGHTS
Photo by Mike Seyfang Flickr CC
contents were “proprietary.” There was no elaboration. When some of us asked what information, exactly, made the bid proprietary, or how, their response was to repeat the initial denial: “It’s proprietary.” But this is not the case. The bid is not proprietary, at least not in any legal sense. The communications departments of these various agencies (particularly the city of Cleveland itself), use “proprietary” as a magic word. They whip it out to fend off reporters. In subsequent interviews, Frank Jackson and the Chamber of Commerce’s Joe Roman were quoted as saying that the Amazon bid had to be kept under wraps so Cleveland could retain its competitive edge.
Indians now middle of pack in revenue after season ticket surge and recent playoff runs. Armond Budish, whose comment was solicited by nobody, nevertheless chimed in saying, “More evidence we are punching above our weight in Cleveland.”
“It’s all about winning,” Roman said. Jackson’s quote was more or less identical. Irony notwithstanding, both seemed to think this was a satisfactory justification. It’s worth noting that this argument was one that many other cities around the country trotted out too, but it’s one that, as Mark Naymik wrote, made no sense. Every bid had already been submitted to Amazon at the time, so it’s not like other cities could steal Cleveland’s ideas. But even if the argument had been sound, it is now gone. Cleveland is no longer in the competition, so there is no longer a competitive edge to lose. Naturally, our leaders have modified the position. Joe Roman told the Plain Dealer ’s Michelle
KEGS AND BROKEN WINDOWS
Cuyahoga County juvenile jail supervisor retires shortly after riot that caused $200,000 in damage. “And they say county employees don’t know how to throw a rager,” Budish was heard remarking.
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UPFRONT Jarboe in her most recent writeup that the bid’s information will remain a “trade secret� and will be stashed, ready for deployment, if and when another major corporation looks for a new home. Team NEO issued a press release to that effect as well, actually using the word “deployed.� “The content of the proposal will remain a protected business trade secret that will be deployed to benefit Cleveland in other nationally competitive economic development discussions,� the statement read. (When Team NEO talks about “discussions,� here, evidently they’re referring to private ones.) This cannot stand. This bid must be released for several reasons. 1.) Releasing the bid is the public leaders’ duty. This is information that presumably contemplates an enormous investment and/or sacrifice of public dollars. It is therefore public information. The various reports compiled for the bid, and the data therein, are public documents. There is no legal defense for keeping them secret. Amazon itself has said that the release of the bids is entirely at the applicants’ discretion. In its most recent communication with the press on this subject, the mayor’s office said that they and their partners were meeting with their legal teams “to review what (if anything) is releasable�. That nonsense arrived in our inbox right about the time that the GCP and Team NEO were christening the bid’s contents a “protected business trade secret.� 2.) Releasing the bid would allow taxpayers to compare Cleveland’s package with those of the 20 finalists. If luring corporate giants to Cleveland is something that taxpayers are interested in, measuring ourselves against successful cities is an obvious strategy for self-improvement. When TV hosts like Jimmy Donovan (or family and friends) ask why Cleveland didn’t make the cut, interested citizens will have some idea how to answer. Was it a public transit issue? The intelligence quotient of the workforce? The hellacious security line at Hopkins? 3.) By the same token, releasing the bid would allow taxpayers to understand the lengths to which
leaders were willing to go to entice a corporate giant. Seeing things like long-term tax incentives spelled out might help citizens determine that luring corporate giants is not something they’re interested in. If the costs are so extreme as to render the benefits negligible or nonexistent, and if we have to debase ourselves by “racing to the bottom� by proposing financial incentives more extreme than other desperate American cities, taxpayers might reasonably want to opt out of the next sweepstakes. 4.) Releasing the bid would fulfill elected leaders’ obligation to (and stated concern for) transparency. Beyond the legal compulsion to release public information when it is requested, this information happens to be particularly newsworthy. Some of it might even be fun! Putting aside the financial implications of the tax incentives, citizens are fiendishly curious about big things that happen in town, and they want accurate, up-to-date information about them. They want to know, for example, which potential sites were offered to Amazon. Was Burke Lakefront Airport part of the equation? What about the Warehouse District parking lots adjacent to Public Square? (It goes without saying that this is also valuable information for reporters, who can then independently assess which sites might pose environmental risks, which sites might result in the displacement of businesses and residents, etc.) 5.) This leads us to the ultimate point: Releasing the bid would allow the press to do its job, something that our region’s leaders have shown zero interest in facilitating. This is suppression, and it’s an epidemic-level cultural problem. The Amazon HQ2 secrecy circus is just one more powerful illustration in a series of recent illustrations that show how local leaders prefer to treat the independent press as the publicity arm of government — as propagandists. What else to call it when leaders release no substantive information about the bid and instead feed the press quotes on the order of “[the bid] is exciting� and “the City of Cleveland and our
partners submitted a collaborative and strong proposal.” Printing those quotes does not constitute reporting. That’s just propaganda. I spent much of 2017 reporting on the decision to close Public Square to buses and a deal to renovate the Quicken Loans Arena. Both of these long, complex stories that played out over several months were initially presented to the press and the public after decisions had been made about them behind closed doors. In the Q Deal’s case, despite a sustained and organized outcry, the fruits of those private decisions processed through local
legislature entirely intact. Amid the fanfare of the official Q Deal announcement ceremony, I asked Armond Budish about the county’s purported “maxed out credit card.” He was clearly annoyed, and denied that public spending on the Q Deal had anything to do with the county’s strained finances. I then asked whether or not the $140 million price tag included interest on the bonds. All of the presenters on stage did some variant of rolling their eyes. Attorney Fred Nance was summoned from the front row to invoke the name of Art Modell
and reflect on the region’s weight class. In general, the attitude from these leaders was that reporters ought to be seeking quotes, not information. It is my sense that this attitude is by now inbred among local leaders. They tend to feel that they are the region’s masters, that it is their job — and theirs alone — to make the region’s big decisions, and to do so in private. (To be fair, a great number of them are wellintentioned, and may sincerely believe that they are working in the region’s best interest). But it’s the press’ job to be on their side,
to report the benevolent leaders’ decisions from the perspective of total euphoria, and to defend those decisions if anyone dares to question them. Again, this must not stand. There are signs of life from the local press, various beacons of whom have been so thoroughly suppressed that they may not even realize they’re suppressed. This often happens (nationally and locally) because many leading journalists prefer to stand among elites rather than in opposition to them. Locally, criticizing our leaders means calling out those
DIGIT WIDGET $500,000 Gift from former Sherwin-Williams exec Thomas Hopkins and his wife Marsha to Cleveland State to endow fund for academic, housing and other assistance for former foster kids.
12.5% Rate of union participation in Ohio in 2017, up one-tenth of a percent over 2016. The national average was 10.7 percent.
6,300 Number of 15,300 enrolled students for whom controversial online school ECOT could document class participation. After being forced to pay back $60 million to the state of Ohio and losing its sponsor, ECOT closed last week.
680 Miles submitted for one day’s supposed travel by a Cuyahoga County employee in 2016, according to an internal audit of travel policies that uncovered lax enforcement, overpayments, reimbursements for free meals and other problems. | clevescene.com | January 24 - 30, 2018
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Photo by EmanuelWallace
UPFRONT we’ve been acculturated to trust, and those we aspire to be among. In some cases, it means calling out our own — the region’s top media figures are often honored with directorships or trusteeships at marquee institutions, and Plain Dealer alums are scattered among the C-suites of important local firms. This is tricky and sometimes unpleasant work. But Cleveland.com’s editor Chris Quinn, to his credit, pressed the mayoral candidates (in particular, incumbent Frank Jackson) about transparency on the 2017 campaign trail. And Quinn’s ace columnist, Mark Naymik, is not letting the Amazon bid story die. They’ve been doing incisive, agendasetting work. Last week, no less than Crain’s Jay Miller was agreeing with Scene on the nightly news. We were both nodding along to Danielle Serino, a former 19 Action News investigative reporter so often described as “feisty� that it may as well be part
ROUGHLY 7,000 PEOPLE ASSEMBLED ON PUBLIC SQUARE FOR THE CLEVELAND WOMEN’S MARCH Saturday, according to ofďŹ cial police estimates. An impassioned slate of speakers, including city councilman Kerry McCormack, Democratic Lt. Gov. candidates Betty Sutton (Richard Cordray) and Tara Samples (Dennis Kucinich), activist LaTonya Goldsby and others praised the energy of the crowd and encouraged those distraught by the current political climate to protest with their votes. Only with new candidates (which hopefully include many more women) can there be change.
of her title. Maybe a recognition has dawned that we are all on the same team.
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Maybe there’s a growing sense of journalistic kinship during these dark times, a renewed sense that as
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Cuyahoga County Dems Endorse Martin Sweeney over Nickie Antonio On the day of the Women’s March, the Cuyahoga County Democratic Party voted in alignment with city leaders to endorse Marty Sweeney, a man who settled a sexual harassment claim in 2007, for the 23rd District of the Ohio State Senate. The endorsement is a dark mark on the party. Sweeney is a West Park Irish good ol’ boy, and he settled the aforementioned claim at taxpayer expense. Yet he was voted as the party’s choice over current state rep Nickie Antonio, a committed progressive. What an ugly look for the organization. The endorsement arrived not only on the day of the Women’s March but in the midst of a national reckoning with sexual assault, in the wake of which politicians have resigned, Hollywood stars have been blacklisted and powerful men have been held publicly accountable for their misconduct. Though Sweeney admitted no wrongdoing as part of the settlement, former clerk of council Emily Lipovan accused him of ongoing sexual harassment and of directing an aid to snoop on her computer. Sweeney was Cleveland city council president from 2006 to 2013, during which time he oversaw a redistricting effort that angered many of his colleagues. He left on spiteful terms and is now a state legislator known for back-slapping and rumpled suits. Nickie Antonio has served four terms as a State Rep (in District 13, which includes Lakewood and much of the city’s near-westside) and is running for State Senate because of term limits. — Allard
May the 4th Be Without Richard Spencer Kent State responded quickly to a request from white supremacist Richard Spencer and other altrighters to rent space on campus for a speaking engagement on May 4, the anniversary of the Kent State shootings in 1970. Citing the packed academic calendar during the week before and after the date, the university declined the request while voicing support of freedom of expression. The school’s full statement is below.
“Kent State University has responded to a request from associates of Richard Spencer to speak on campus May 4 that we are unable to accommodate his request. The weeks of April 30 - May 12 are always an exceptionally busy time on our campus, with numerous activities marking the end of our academic year. “Kent State values respectful dialogue from all points of view, including ideology that is controversial or offensive. Consistent with our core values, we encourage open dialogue, freedom of expression and respectful discourse in an inclusive environment.” After being met with denials from other schools including Michigan State and Ohio State, Spencer and/ or his supporters have filed lawsuits or threatened legal action. MSU, in settling a lawsuit filed by Spencer’s lawyer late last year, yesterday announced Spencer would be allowed to speak on campus. We’ll let you know if there are any further development’s following Kent State’s decision. — Vince Grzegorek
15 RTA Routes Will See Service Reductions in March As expected, the Greater Cleveland Regional Transit Authority (RTA) announced upcoming service reductions for 15 bus and train routes at its board meeting last week. Responding to impassioned public comments, CEO and GM Joe Calabrese said that he knew these reductions, which will be implemented on March 11, will inflict pain. He said, though, that given forthcoming budget cuts, he was confident this decision will inflict the least amount of pain. Additional service cuts and layoffs are anticipated later in 2018, as is an additional 25-cent fare hike. Earlier this month, Calabrese estimated that as many as 200 employees may be laid off this year. Last week, he said that while exact numbers were difficult to predict, RTA would “significantly cut” the total hours of labor. Calabrese maintained that the cuts were to the least-used routes and times, but the fact that the eastside Blue and Green rapid lines will have trains arriving only every 20 minutes during the morning and evening rush is a shocker, as are the reductions to the main westside routes — #22 (Lorain), #26 (Detroit) and #55 (CSU Line) — at both peak and non-peak hours. — Allard
scene@clevescene.com t@clevelandscene
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| clevescene.com | January 24 - 30, 2018
FEATURE ‘IT STILL SMELLS LIKE BURNT RUBBER’ An oral history of the Akron compilation, the album that was supposed to make the city the next Nashville By Martin Cizmar FORTY YEARS AGO, AKRON HAD the most buzzed-about music scene in the world. Warner’s Jerry Wexler, a legend who coined the phrase “rhythm and blues” and who signed Led Zeppelin, came to town to scout and sign bands. Sire, Mercury and Capitol followed suit. The country’s most famous rock critic, the Village Voice’s Robert Christgau, visited from New York to see a show at a college bar and filed a 5,700-word feature about the scene. Maybe it was a distraction from the glum news — in addition to the layoffs and factory closures, a striking Teamster had recently dumped 3,000 gallons of explosive naphtha into the city sewer system, damaging two miles of roadway — or good oldfashioned homerism, but there was a sense, even within the mainstream local media, that these Rubber City kids could actually be doing something important. “Promotion of ‘The Akron Sound’ will turn out to be either a fad which blows over, or a success which turns Akron into another Nashville,” the Akron Beacon Journal wrote on April 16, 1978. The New Nashville was not to be: In 2010, Akron’s most notable musician, Black Keys’ singer Dan Auerbach, moved to the actual Nashville. The highpoint of the era, and its most recognizable artifact, is a compilation record featuring Akron bands that was issued by a buzzy London label. That compilation — usually just called the Akron compilation, but occasionally referred to by its working title, Akron: Spirit of America — is probably best remembered for the rubber-scented scratch ’n’ sniff sticker on its cover, and not for the music on it. That’s not for lack of potential. Among the bands that appear: The Waitresses, who went on to record the new wave hits “I Know What Boys Like” and “Christmas Wrapping”; Liam Sternberg, who assembled the compilation, wrote four songs on it, and later penned the Bangles’ “Walk Like An Egyptian”; teenaged Rachel Sweet, who went on to make two full-length records and then moved to Hollywood, where she’s been the
Shined On: The cover photo was shot during “the Great Blizzard of 1978,” by a visiting photographer hired by Stiff. The mural is in Cuyahoga Falls.
executive producer of Hot in Cleveland and 2 Broke Girls; Tin Huey, who was signed to Warner Brothers for its debut, and whose saxophonist, the recently departed Ralph Carney, went on to a 40-year career in which he was well known as a sideman for Tom Waits. But what about bands like Idiots Convention, Sniper and Terraplane? I set out to track down every band on the record and see what happened to them. What I discovered is a curious lack of information. In the digital age, very few bands don’t leave a trace —
their names appear in the PDF of a newspaper ad, if not an article; they have a 45 for sale on eBay, if not a grainy video uploaded to YouTube. Not so with many of the bands on the Akron compilation that somehow left no trace. They’re ghosts. When I started reaching out to people, even the ones who had recorded tracks for the compilation and who were deeply ensconced in the local scene didn’t know who these bands were. Why? The picture that emerged is both
a little odd and classic showbiz. The real story of the Akron compilation is about a cynical British record executive, an ambitious local kid who saw an opportunity to break into the music business, and a bunch of talented young people who were just happy to be part of something. Here’s the story in their own words.
T
he “Akron Sound” was a product of Akron’s unique place as Cleveland’s bonus level. The city | clevescene.com | January 24 - 30, 2018
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Photo courtesy Don Parkins
FEATURE
The Bizarros
is firmly and happily entrenched within the Cleveland media market, but claims its own distinctive culture. Akron is — ask LeBron, Dan Auerbach or David Giffels — not Cleveland. Except it kinda is. Musically, Akron wears the influences of the Appalachians who moved north to work at the rubber factories, bringing their love of fried chicken, pontoon boats and Hank Williams. The Akron area also has two huge state universities, both of which have conservatories with jazz programs. In the late 1970s, suburban Kent had a vibrant downtown party-bar scene where bands, many made up of students at those conservatories, played marathon sets. Chris Butler of Tin Huey and the songwriter behind the Waitresses: Cleveland had Scene. Cleveland had the WMMS and Belkin Brothers. The only attention we got from Cleveland was their trying to get us to buy concert tickets. There were no recording studios in Akron until someone bought a tape machine. Nobody was going to press our records, discover us, write about us. So it was really, by necessity, a DIY thing. We had to build everything from the ground up. And we did. Liam Sternberg, songwriter and producer behind Jane Aire and Rachel Sweet: It was the era of Fleetwood Mac and stuff, where they were making tons of money
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making records and most of it was going up their noses. We felt like music had become plastic and the old fun of 45 rpm records had been lost, so we wanted to make great 45s. Nick Nicholas, frontman of the Bizarros: We were lucky enough to have WMMS in the early days where you could hear stuff you never heard before, everything from Gabor Szabo to Captain Beefheart to Velvet Underground to old blues stuff you never knew existed. The long winter nights: staying home, watching Ghoulardi on TV and having WMMS as a soundtrack … Cleveland was arty all the time. Peru Ubu was the top of the mountain — there was nobody like them — everybody else up there was trying to look like they were cool. Whereas, Akron, we just wore jeans and hung out in basements and played music. Ralph Carney, saxophonist for Tin Huey: Akron was less of a dark city. Cleveland with all the industry, there was something dark, and there still is — I love it, but it’s different. It just seemed like they were a little more angry up there. More anger, less wacky. Robert Christgau, speaking to the Akron Beacon Journal on April 16, 1978, a month after visiting Akron: I don’t distinguish between Akron and Cleveland, but Akron probably has more good bands, perhaps because it’s close to Kent State.
| clevescene.com | January 24 - 30, 2018
O
ut of that milieu sprang the rare art project that’s totally unique and without obvious influence: Devo. The band was formed by Akron natives turned Kent State art students who were on campus for the May 4 shootings and the riotous protests that followed. That day, along with the closing of the rubber factories and the socioeconomic distress in their wake, was a formative experience for Mark Mothersbaugh and other Akron-area artists. Butler: If you wanted to be an artist in Akron it was going to be real tough. And one way of dealing with tough is humor. Devo was very funny and satirical. They mocked the corporate world by creating a complete alternative universe. Their humor was very, very angry — they were angry, alienated people. And Tin Huey might have been hardworking and ambitious, but theirs was a semi-fascist regime. Carney: Devo’s drummer, Alan [Myers], was one of the first people I ever played music with. He was this bizarre, cool dude that was like a year older than me. ... I would go over to his house and we would jam, and try to learn Traffic songs. And then we got into jazz, like, “Free jazz, man, just do what you want!” I would play with him a bunch. Then, I remember in like ’75 or ’76, he was like “Hey, I’m playing with these guys, duh-VOH.” He cut his hair kinda short — he’d
had long hair —and then he’s like, “Hey man, I can’t really play, we got rehearsal.” They rehearsed all the time. I was kinda like, “You got sucked into this cult, man! What’s this band?” And then when I saw them— ohhhhhhhh shiiit, it was so great.
T
he Akron compilation would not have existed without Devo, who’d caught the attention of tastemakers in London and New York. That included Dave Robinson, honcho of the legendary label Stiff Records. Stiff was coming off a long string of early successes — the label formed in 1976 and promptly signed Elvis Costello and Nick Lowe, taking their roster on a debauched tour of the U.K. Robinson was riding high, and looking for the next big thing. Dave Robinson, owner of Stiff Records: I was in New York and somebody mentioned to me this band Devo. I listened to this a track they were doing called “Satisfaction,” the Rolling Stones’ track. I thought was really fascinating — they were doing a really, really odd version of what was a very classical rock track. So I decided to go to Akron and see about meeting them. I tried phoning them and they told me they were signing with Virgin or Warner Brothers. The bass player — his name escapes me, Jerry, I think — he was very pushy about how they were signing to a major label and Stiff was a label he
didn’t know and he wasn’t too pushed about the whole idea. Butler: Stiff Records was a bunch of pirates — lovable pirates. Their roster was like the island of broken toys, and none of the bands made any money but Stiff had great promotional ideas and threw great parties and a lot of the people they worked with were happy with that. They came to Akron with the idea of wooing Devo. And Devo, being very smart and savvy, were very cagey. Robinson: I played [“Satisfaction”] for Chris Blackwell, who ran Island at the time, who was distributing us at the time in the U.K. and he’s like, “God, that’s extraordinary!” He became very excited about the idea of this unknown and extremely odd band, and he and I promptly got a flight to Akron with no real plan except that we’d get there, meet the band, and convince them that we were a better option than what they had. Devo bassist Jerry Casale, in the BBC’s Stiff Records documentary: Before we got a record deal, of course we were approached by every snake in the world promising us a lot of weird things and then pulling them away. And then we were in that bidding war stage where you’re the new girl in town and every guy wants to fuck you. Robinson: We got there and I think it was the worst blizzard in the Midwest in America for the last 40 years or something. We went off to a motel and got ourselves sorted out. Sternberg: Stiff had contacted me because Devo had given them a demo of one of the things I’d done. When they came to the airport — Blackwell and Robinson — I became their chauffeur. I said I could drive them to where they could meet Devo. They met Devo and made their offers. Robinson: There were no flights out of Akron for a couple days. Word got around that we were there, two record labels. The local people — Chris Butler, Liam Sternberg — started calling. Blackwell got out. I don’t know if he went by car or went to Canada, but whatever, he got out. But I stayed for a few days, and listened to a lot of demos from people who came around to the motel. Butler: He came to [Tin Huey bassist] Mark Price’s house, where we played him our songs. “B-side,” “B-side” he kept repeating, including for “I Know What Boys Like.” We thought we had bombed. Nicholas: I got to hang out with Dave that day he was there. We were talking, and we’d just gotten signed to Mercury. He was basically telling us we were stupid because he’d worked with them and didn’t like them. Robinson: As soon as I got back
to London, which took a while, I did a deal where I gave Devo some money — they needed some kind of spending cash to do some touring that they had in mind — I did a financial deal to do three of their singles, which they owned, and which they were imagining they would re-record for their record on Warner. Casale, to the BBC: We took our do-it-yourself ways and went with Stiff to get distributed in Europe. And of course we were sold a bill of goods that these guys were outsiders, that they were cool, they weren’t like establishment suits, they were on our side, they didn’t live high on the hog therefore they weren’t charging you for everything and therefore you’d make money quicker and keep more of your money. And what’s funny is it was just, like, pigs in hippie clothes.
H
aving been rebuffed by Devo, Robinson’s new idea was make a compilation of other Akron bands. Stiff would spread it using the label’s vaunted marketing prowess. The issue was that Robinson hadn’t spent much time in Akron and had to outsource all the work of assembling a compilation. Robinson: With the other Akron bands, I had Liam and Chris be involved in compiling a list of bits and pieces. Nothing was phenomenal. I didn’t think it was fantastic, but it was very interesting. Akron was fascinating, because it seemed like a town that’s best days had passed by, seemingly ... And I was aware that Chrissie Hynde had come from Akron. I knew Chrissie in London, and we had at some point talked about it. So the idea of an Akron compilation was, you know, interesting enough to do. Sternberg: He gave me — not a lot of money, perhaps $500 — and a big stack of contracts, and said, “Put this thing together.” I probably burnt the $500 in phone bills, but I put it together. Robinson: We needed an angle. We didn’t have any really significant tracks — Devo weren’t prepared to put any of their tracks on the compilation. So the scratch and sniff idea came as sort of a marketing idea, to get some press, because Akron didn’t really mean anything to anybody in the U.K.
E
ven though the scene was small, there were two distinct sounds in Akron. First, there were the bar bands, which were influenced by jazz and blues and often played marathon sets at bars on Water Street in Kent. Then there were the artsy punk types and new wavers. There was overlap —
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Photo by James Carney
FEATURE
Tin Huey
Chris Butler, for example, had played bass in Kent’s famous bar band, 1560-75, and was experimenting with new wave. But Sternberg, who had recently moved home from London and would soon return to London, was not attuned to projects like Nick Nicholas’ punky Clone Records, which had assembled and pressed two of its own Akron compilations around the same time.
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Nicholas: The Stiff Record compilation — we’re on it to be on it, and I think it was a great thing to happen to Akron. It was great to have the scratch ’n’ sniff sticker on it. But as far as the bands that were on there, I’d say half the bands weren’t real bands. They were just friends of Liam’s from the old bar scene that he was able to get together to do stuff. I’m proud to be on it, but I don’t have a lot to say about it. Sternberg: My task was to get the album made. They wanted X number of tracks. Dave said, “Get this together.” I told Chris about it, and we went out there. We said, “We need tracks,” to everyone we knew. We said, “We need you to do something.” So everyone managed to do ... something. Butler: Liam and I were both interested in writing songs but both our band gigs were very demanding. So we invented artificial bands — the Waitresses and Jane Aire and the Belvederes. I had a fanzine and when
| clevescene.com | January 24 - 30, 2018
you have a fanzine, you can tell big whoppin’ lies about your fake bands. Sternberg: We were sitting in this diner in Kent, Ohio, and we both were talking and we said, “Why don’t we create bands and make these records?” We just thought, “Let’s just make it up!” We’ll make up some groups and if anything happen, we’ll put the groups together. I said, “I’m going to call mine Jane Aire and the Belvederes,” and he said, “I’m going to call mine the Waitresses.” And that was it. He found a waitress — and, actually, so did I. Jane Ashley (singer of Jane Aire and the Belvederes): My sister was the singer in the family, and she had a reputation for being a great singer and dancer. She would always encourage me to sing. I was waiting tables at a bar downtown, in the center of Akron, a place called the Armadillo, that was adorned by the artwork of Don Drumm. I was waiting on tables and there was a jukebox there. Liam happened into the bar. I was waiting for my drinks to deliver and I would sing along to Average White Band or whatever. Anywhoo, he said, “I heard about your sister, but one of these days I’m gonna make a record with you.” I looked at him and went, “What? Gimme a break.”
B
oth the Waitresses and Jane Aire and the Belvederes ended up with
two songs each on the compilation. In total, seven of the 14 songs on the Stiff Akron compilation were written by either Butler or Sternberg. Of the seven others, some were oddities from bands that were never heard from again, like a band called Terraplane that contributed what may be the best song, a little reggaetinged ditty called “A Beer and A Cigarette.” That song was written by Ted Harris, who’d moved to Kent for college from his native Long Island. Harris: I had a full scholarship at Kent — I ran track in 1970. I got a 2S and it kept me out of the war. I ran track and it kept me from running through the rice paddies of Vietnam.
H
arris grew up playing clarinet, but gave up when he started school. He resumed after dropping out and becoming a townie, joining a band called Terraplane, named for a Robert Johnson song. They played at the bar next to JB’s in Kent, where they were on stage from 9 p.m. to 1 a.m. with set breaks. They did mostly covers, and were one of the first bands around to play reggae. Harris: I wrote that song because of another black performer in Akron, John Bassette, who wrote a song called “Weed and Wine” and that gave me the idea for that
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song. I was living at a farmhouse in Ravenna — it was called the Huffing Heifer Farm — and we were making homebrew, and I smoked cigarettes at the time. I was just enjoying a cigarette and a beer at the farmhouse where I was living. That’s the first song I ever wrote. Sternberg: It’s probably my favorite track, too. “You can’t deny it, you know it’s true.” That’s a great line.
S
ternberg’s father was an Akron lawyer and jazz-lover, so the people he knew included Seward Thomas Davis III, who went by “Sniper,” and Marty Block, a jazz bassist who’d played with Pat Pace, a jazz pianist that Liam’s father and mother would often go to see — the elder Sternbergs were, reportedly, incredible dancers. From Block he got a song called “Mephistopheles’ Passion,” a vaguely prog-y pianodriven piece which was billed to a band called Idiots Convention. Sternberg brought the bands in to record on four tracks. Robinson: The studios were demo quality and fairly cheap. Nobody was going to Akron to make a big rock record. Block: We had gotten together the night before and we’d spent the night rehearsing and then crashed somewhere. It was January, and Liam had some horrible piece of shit car — a Real Fiat or something dumb like that. And the thing wouldn’t start. It was miserable and it was cold in Ohio in the winter. I’m under the hood, trying to get the carburetor going with a screwdriver and Liam’s cranking. He looks at me and says, “Cars are such a bore.” Just ... that’s the guy he was. I said, “Well, crank this bore one more time before we freeze to death.” Sternberg: Sniper got together on the idea they could do it. [Seward] is a really good classical pianist that was at the conservatory of Akron, and he put it together because he knew we needed tracks. Marty Block: Idiots Convention was an actual band but the band on the recording was not the actual band because it had broken up by that time. That band was two guitars, bass, drums, singer and two trombones, both fine jazz players from Kent State. Strange-sounding band — we did a lot of originals and I did a lot of the writing for it. We played pretty steadily around Akron and colleges around Ohio for a couple years. ... Liam asked me if I had anything I wanted to do, and I liked “Mephistopheles’ Passion.”
S
till short on bands, Sternberg resorted to using pen names on some of his contributions — such as Pietro Nardini, who is credited as the writer of Rachel Sweet’s “Truckstop Queen.” Sweet, who is now a television producer, was sort of a proto-Taylor Swift, a teenage prodigy with a big voice who straddled the line between country and pop. The offbeat song Sternberg wrote was perfect for her, the tale of a woman who secretly owns a nationwide chain of truck stops while working as a waitress at a place she owns, Undercover Boss-style. Sternberg: Pietro Nardini is a name I made up — well I didn’t make it up, it’s the name of a famous baroque violin player. And, in fact, France never paid me any royalties because I used that name. “You’re not Pietro Nardini, clearly, so no money for you, pal.” Nick Nicolas, frontman of the Bizarros: I wanted the Akron sound to be heard by as many people as possible. Their ultimate goal was to get Akron out there, so in the big picture it was a good thing … I was surprised by some of the bands that were on it. Carney: I remember we got the record and I was like, “Who is that? I’ve never even heard of them.” Sternberg: Half of it was made up, but it was all in good fun.
U
nfortunately, Stiff’s marketing gimmick, the scratch ’n’ sniff sticker on the cover, did not work and the Akron compilation did not sell. Robinson: We sold quite a few of the albums, but we had pressed about 40,000 in order to get the scratch ’n’ sniff technology onto a reasonable number of records, because we weren’t planning to re-press at any time. So what happened is we ended up with a warehouse full of burnt rubber smell. It kind of came out of the cardboard. Nigel Dick, Stiff Records’ messenger to the BBC: We have a big meeting in the office because the album isn’t selling. I remember Dave sitting on the bench and saying, “Right, I want to know why the album isn’t selling.” I’m the messenger guy and I put my hand up and say, “I know why it’s not selling!” Everybody turns and looks at me, and they go why is it not selling? “Because it’s crap.” I think everybody was interested in the concept, you know — that this is the new Liverpool, or the new Manchester, or the new Seattle — “Yeah, Akron’s where it’s at!” And I guess, frankly, it wasn’t.
Photo courtesy Don Parkins
FEATURE
The Bizarros
Sternberg: I was surprised it sold anything. It cost virtually nothing to make it, and they were getting huge margins on vinyl records at the time, and they got distributors for it all over the world. They sold it in Japan. I have no idea what it sold, because the distributors were lying to them, and they were lying to the artist, so who knows. Nicholas: It could have been a great album, but it was just an okay album … in retrospect, some of the weak stuff on there people would think, “Oh this is all that Akron is.” But then again, it had some strong stuff on there too.
W
hen the compilation flopped, most of the bands separated from Stiff. The exceptions were Rachel Sweet, who joined the label and was brought along on its next big tour with a tutor, and Liam Sternberg, who went to London to work as a producer on Rachel Sweet’s debut album, Fool Around. Sternberg: They couldn’t get rid of me. I go, “This is too much fun, I’m staying.” They were a pretty wild label. It was a pretty good couple of years of my life, hanging around there.
M
ost artists say they were never paid any royalties — with a wide range of reactions.
Sternberg: Money and Stiff? Money and Stiff don’t go together — it’s not in the same formula. I had to sign a contract something or other and Dave once said to me, “Just sign it, we’re only going to rip you off.” And they did. But it was worth it — you can’t get a door open like that without paying the doorman. Butler: I happened to be in London visiting Liam Sternberg, and so I went into Stiff’s office and just refused to leave until they gave me an accounting. I sat there in the lobby, and wouldn’t leave. Much to my surprise, I did get an accounting and a check. I later learned that Madness had been in there the previous week demanding their accounting, and had trashed the place. So I think they thought I was going to go ballistic on them. I think they gave me something like 150 pounds and that was it. Harris: I remember when they sent us copies — they sent copies to Andy Haus’ house, who was the band leader at the time — and they were COD. So that’s Stiff Records for ya. Robinson: I actually have a few of the records. I happen to know, because my garage still smells of burnt rubber.
Martin Cizmar is a Tallmadge native and the Culture editor at Willamette Week , in Portland, Oregon.
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GET OUT everything you should do this week Photos by Emanuel Wallace
WED
01/24
SPOKEN WORD
Cleveland Stories Dinner Parties Cleveland Stories Dinner Party is a weekly series that pairs fine food with storytelling. Through it, the folks at Music Box Supper Club hope to raise awareness of the mission of the Western Reserve Historical Society’s new Cleveland History Center. The goal of the Cleveland Stories Dinner Party is to “bring to life some of the fun, interesting stories about Cleveland’s past — from sports, to rock ’n’ roll, to Millionaires’ Row,” as it’s put in a press release. Admission is free, with no cover charge, although a prix fixe dinner, designed to complement the night’s theme, is $20. Doors open at 5 p.m., dinner is served at 6, and the storytelling starts at 7. Tonight, local author Carlo Wolff talks about working behind the scenes of the Cleveland rock scene for the past several years. (Jeff Niesel) 1148 Main Ave., 216-242-1250, musicboxcle.com. FILM
Every Everything: The Music, Life & Times of Grant Hart Director Gorman Bechard’s Every Everything: The Music, Life & Times of Grant Hart chronicles the life and times of the former Hüsker Dü co-songwriter/singer/drummer. The film explores his difficult family life, the band’s bitter breakup and Hart’s solo career. The movie screens tonight at 7 at the Rock Hall. Admission is free for Rock Hall members, $5.50 for non-members and free with paid Museum admission if space permits. (Niesel) 1100 Rock and Roll Blvd., 216-515-8444, rockhall.com. THEATER
Love Never Dies Set 10 years after the Phantom’s disappearance from the Paris Opera House, Love Never Dies, Andrew Lloyd Webber’s sequel to The Phantom of the Opera, follows the Phantom after he’s escaped to a new life in New York, even though he still longs for his one true love, Christine Daaé. Tonight’s curtain is at 7:30 at the State Theatre; performances continue through Jan. 28. Tickets are $29 to $109. (Niesel) 1519 Euclid Ave., 216-241-6000, playhousesquare.org.
THEATER
Marie and Rosetta Now a Rock Hall inductee, the late Sister Rosetta Tharpe is the subject of Marie and Rosetta, a musical presented by the Cleveland Play House, that pays tribute to “the Godmother of Rock ’n’ Roll” who influenced rock icons such as Elvis Presley and Jimi Hendrix. You can catch a performance tonight at 7:30 at the Allen Theatre; additional performances continue through Feb. 11. Tickets are $25 to $105. (Niesel) 1407 Euclid Ave., 216-241-6000, playhousesquare.org. COMEDY
Mike Winfield Plagued by big teeth, comedian Mike Winfield likes to joke that he can’t close his mouth because it hurts. Because of this, he can’t act tough and everyone thinks he’s just a nice guy. Nice or not, his self-deprecating humor is pretty hilarious as he fires out his witty quips. Other topics for laughs are his dealings with his older stepson (he calls him a “stepman”), his past days working for a grocery store and the rampant theft in the self-check lane. He takes the Hilarities stage tonight at 8 with additional performances scheduled through Saturday. Tickets start at $18. (Niesel) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com.
THU
01/25
COMEDY
Rob Allen Veteran comedian Rob Allen launched his career some 30 years ago. The raunchy comic who likes to open his set by greeting his fans with a “What’s up, fuckers?” has appeared on BET’s ComicView several times and has won a Redd Foxx Cutting Edge Award. He performs tonight at 7:30 at the Improv. Tickets are $17. (Niesel) 1148 Main Ave., 216-696-IMPROV, clevelandimprov.com. COMEDY
An Evening with Dan Wilbur Originally from Cleveland, comedian and writer Dan Wilbur has penned two books, How Not to Read and Never Flirt with Puppy Killers. For more than 12 years now, he’s done standup comedy too, headlining at colleges all over the country and
The Cleveland Winter Beerfest returns to the Convention Center. See: Friday.
performing in festivals in Boston, Cleveland, New York, Austin, Salt Lake City and North Carolina. He performs tonight at 9 at Coda in Tremont. Local comic Bill Squire will open. Tickets are $7 in advance and $10 at the door. (Niesel) 2247 Professor Ave., 216-274-1200, coda.danteboccuzzi.com.
College Meal Deal that includes a hot dog, chips and a soda. The two teams face each other again at 7 p.m. on Saturday. The first 10,000 fans to that game receive a Monsters’ Cleveland-themed T-shirt. Tickets start at $10. (Niesel) 1 Center Court, 216-420-2000, theqarena.com.
COMEDY
FILM
Jay Larson In a bit called “Wrong Number,” comedian Jay Larson jokes about taking a phone call from a stranger and pretending to be a guy named Bruce who has screwed up a company’s budget. Larson, who’s appeared on both This American Life and Comedy Central, has also released several comedy albums and hosts the weekly podcast, The CrabFeast. He performs tonight at 8 at Hilarities, where he has shows scheduled through Saturday. Tickets start at $23. (Niesel) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com.
The Rape of Recy Taylor In her recent Golden Globes speech, Oprah Winfrey referenced Recy Taylor, a woman whom Winfrey said was “abducted by six armed white men, raped, and left blindfolded by the side of the road coming home from church.” Rosa Parks investigated the case, and though the men were never prosecuted, Parks became a civil rights movement activist. Winfrey says that Taylor, who just recently passed away, “lived as we all have lived, too many years in a culture broken by brutally powerful men.” In the wake of Winfrey’s rousing speech, the Cleveland Institute of Art Cinematheque has added the documentary film The Rape of Recy Taylor to its schedule. Director Nancy Bairiki’s 2017 documentary uses interviews, photographs and film clips to examine the incident. The movie shows at 6:45 tonight. Tickets are $10, or $7 for Cinematheque members and students. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu.
SPORTS
Monsters vs. Iowa Wild The Cleveland Monsters struggled to get wins in the month of December so they need to win as much as they can in 2018 if they hope to make the playoffs. Tonight at 7, they kick off a two-game series against the Iowa Wild. It’s College ID Night, so students with a proper ID can buy tickets for $6 and receive a $6
| clevescene.com | January 24 - 30, 2018
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GET OUT FRI
01/26
SPORTS
Cavaliers vs. Indiana Pacers Though the Cavaliers swept the Indiana Pacers in last year’s playoffs, the wins didn’t come easy for the Wine and Gold. Each game came down to the wire. This year, the Pacers feature a few new players, and the team appears headed to the playoffs once again, assuming star guard Victor Oladipo can remain healthy. The two teams meet tonight at 7:30 at the Q. Tickets start at $30. (Niesel) 1 Center Court, 216-420-2000, theqarena.com.
wake acts as a dark backdrop to an otherwise hilarious show in which alcohol fuels the humorous reminiscing. A sort of tragic Tony ’n’ Tina’s Wedding, the interactive and improvised show engages the entire audience as the guests are treated as the friends and family of
Black History Month
BEER
Cleveland Winter Beerfest Cleveland Winter Beerfest, which takes place tonight and tomorrow night at 8 at the Cleveland Convention Center, will feature the usual assortment of exotic craft beers. (VIPs get in an hour early, at 7.) Your regular admission ticket includes 25 samples in a 5-ounce cup. Those tickets cost $45 in advance and $55 on the day of the event. The VIP tickets run $55 in advance and $65 on the day of the event. More than 120 breweries will be on hand. Details are on the website. (Niesel) 500 Lakeside Ave., 216-928-1600, clevelandbeerfest.com. THEATER
Flanagan’s Wake No one knows grief and mourning like a Catholic, let alone an Irish Catholic. Now in its sixth year running in Cleveland, Flanagan’s Wake transports the audience to a wake in Ireland where villagers tell tales and sing songs for their dearly departed Flanagan. Finding the humor in life and death, the
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a character-driven plot, Kedi is more like an observational nature documentary than a standard narrative documentary. The film is at its best when it allows the audience to focus on a particular cat for a length of time, like the hardened fish thief called Psychopath or the roughand-tumble cafe cat named Carefree. Allowing the personalities of the cats to shine pushes the film into more than just animal photography. It shows at 7 tonight at the Cleveland Museum of Art. Tickets are $10, or $7 for CMA members. (Johnny Cook) 11150 East Blvd., 216-421-7350, clevelandart.org. MUSIC
Hall of Fame Series
DJ Yella (N.W.A) & Lil Eazy E Conversations & DJ Demo FEB 7TH • 7PM • FREE w/RSVP
FILM
Chavela Emmy-nominated documentary filmmaker Catherine Guns will be on hand for tonight’s screening of her latest film, Chavela, a documentary about Mexican musician Chavela Vargas. The film primarily centers on a 1991 interview with Chavela, a gay icon. The film screens at 7:30 tonight at the Cleveland Institute of Art Cinematheque. Tickets are $11, or $8 for Cinematheque members and students. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu.
to the gynecologist, and picking baby names. She also examines double standards. She performs tonight at 7:30 and 10 at the Improv, where shows are scheduled through Sunday. Tickets are $22. (Niesel) 1148 Main Ave., 216-696-IMPROV, clevelandimprov.com.
Let it whIp! KINSMAN DAZZ BAND & DJ ELLERY FEB 9TH • 8PM (Doors 7pm) • TIX $10
Includes admission to tour Museum
Rock Hall Film Series
Something from nothing: The Art of Rap FEB 21ST • 7PM • TIX $5.50 • Free for Members
CTRL|ALT|BEAT© Happy Hour & Innovator-led discussion on diversity & inclusion in music technology & business
FEB 28TH • 5:30PM UNTIL 9PM • FREE w/RSVP rockhall.com/onstage to purchase tickets or RSVP. 1100 Rock and Roll Boulevard, Cleveland, OH 44114 | rockhall.com | 216.781.ROCK
the deceased. The show starts at 8 tonight and plays again tomorrow night at 8 at Kennedy’s Theatre. Performances continue weekends through April 28. Tickets are $26. (Patrick Stoops) 1501 Euclid Ave., 216-241-6000, playhousesquare.org. COMEDY
Adele Givens Known as the “Queen of Comedy,” Adele Givens uses her crass sense of humor to focus on everyday situations such as marriage, going
| clevescene.com | January 24 - 30, 2018
FILM
Kedi Stray cats have lived in Istanbul for thousands of years, nearly as long as the city has been standing. The new documentary Kedi offers a gallery-style view of the cats inhabiting Istanbul while citizens offer their thoughts and feelings about the animals in their respective communities. The film shows how the cats live on a day-to-day basis and posits that, despite their feral nature, essentially they have become citizens of Istanbul. Without
Mountain Heart Presented by the National Park Service and the Conservancy for Cuyahoga Valley National Park, the Heritage Concert Series aims to celebrate the cultural legacy of the Cuyahoga Valley with a variety of folk and roots rock concerts at the Happy Days Lodge. Tonight’s concert features the acoustic bluegrass act Mountain Heart. Tickets start at $28, and the concert begins at 8 p.m. (Niesel) 500 West Streetsboro Rd., Peninsula, 330-657-2909, conservancyforcvnp.org.
SAT
01/27
MUSIC
22nd Annual Tri-C High School Rock Off When the annual High School Rock Off launched some 20 years ago at the Odeon, the promoters at the local Belkin Productions (now Live Nation) saw it as a way to reach out to area high schools and provide students with the kind of outlet that they might not have. Two decades later, the event, which takes place again this year at the Rock & Roll Hall of Fame on four Saturdays, before concluding with a “final exam” on Saturday, Feb. 17, continues to thrive. Tonight’s concert begins at 6 p.m., and tickets are $10. (Niesel) 1100 Rock and Roll Blvd., 216-515-8444, rockhall.com. FILM
The Blade of the Immortal Last year, prolific Japanese director Takashi Miike delivered his 100th film with Blade of the Immortal. The film, which features elaborate sword fights and gruesome battle scenes, centers on a samurai who helps a young girl avenge the death of her family. It makes its local theatrical debut at 4:15 p.m. today at the Cleveland Institute of Art Cinematheque. Tickets are $10, or
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GET OUT $7 for Cinematheque members and students. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu. FILM
The Divine Order The Divine Order, Switzerland’s entry into the Oscars for best foreign language film, takes place in 1971 Switzerland and centers on a Swiss woman and her mother who fight for women’s rights. The compelling drama screens at 6:45 tonight and at 8:20 tomorrow night at the Cleveland Institute of Art Cinematheque. Tickets are $10, or $7 for Cinematheque members and students. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu.
tonight at 8 at the Akron Civic Theatre. Tickets are $44.50. (Niesel) 182 South Main St., Akron, 330-253-2488, akroncivic.com. FUNDRAISER
Somewhere in Time: 1870s Satin & Soot Now in its eighth year, Somewhere in Time: Satin & Soot, a fundraising event at the Cleveland History Center, aims to recreate what Cleveland was like in the 1870s. At that time, industrialists, the immigrant workforce and cultural institutions were on the rise; Cleveland would go on to become one of the largest cities in the nation. Proceeds from the event support education and public programs for nearly 25,000 students, families and seniors. The event begins at 6 p.m. at the Cleveland History Center. Costumes are encouraged. Tickets start at $50. (Niesel) 10825 East Blvd., 216-721-5722, wrhs.org/events/somewhere-in-time-2/.
MUSIC
The Gershwins in Hollywood The Cleveland Jazz Orchestra teams up with the Musical Theater Project to pay tribute to George and Ira Gershwin with tonight’s program. The selections focus on the songwriting team’s final years in Hollywood. Bill Rudman and Paul Ferguson co-host the concert. It begins at 8 p.m. at the Hanna Theatre. Tickets are $35 to $55. (Niesel) 2067 East 14th St., 216-241-6000, playhousesquare.org. FILM
Program One: Studies in Natural Magic The Cleveland Institute of Art Cinematheque celebrates the 50th anniversary of the San Franciscobased Canyon Cinema with tonight’s program which includes 14 short films, four of which are new prints. Tickets are $11, or $8 for Cinematheque members and students. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu. COMEDY
WJW.CLEVELAND
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| clevescene.com | January 24 - 30, 2018
Brian Regan Veteran comic Brian Regan originally set out to become an accountant. But when that didn’t work out, he shifted to comedy. Years later, comedians around the country hail his impeccable delivery and ability to inject just enough physicality into his routines. Regan, who refrains from using profanity, relies on observational humor to entertain patrons. His bit on the PopTart is a classic, making fun of the complex instructions that accompany a simple toaster snack. He performs
SUN
01/28
FILM
Aida’s Secrets This 2016 documentary chronicles how the discovery of records from WWII sparks a family’s quest for answers. Two brothers, separated as babies, reunite with one another and with their elderly mother. The brothers meet their mother at a nursing home in Quebec and confront her for having kept so many secrets. The film makes its Cleveland debut today at 1:45 p.m. at the Cleveland Museum of Art. Tickets are $10, or $7 for CMA members. (Niesel) 11150 East Blvd., 216-421-7350, clevelandart.org. NIGHTLIFE
Chippendales 2018: About Last Night Tour Chippendales, a male stripper show, has been on the circuit for what seems like an eternity. The guys bring their six-pack abs and toned figures to House of Blues tonight as part of a multi-city tour. According to the official press release, the guys intend to create “a fun, partylike environment where women can let loose, have a great time and appreciate the fantasies played out on stage.” Sounds like the bachelorette party from hell. The show begins at 9 p.m. at House of Blues. Tickets start at $25. (Niesel) 308 Euclid Ave., 216-523-2583, houseofblues.com. FILM
The Departure One of the best-reviewed films of
GET OUT the year, The Departure centers on a former Japanese punk rocker who becomes a Buddhist priest who specializes in counseling people considering suicide. The film makes its Cleveland debut today at 4:15 p.m. at the Cleveland Institute of Art Cinematheque. Tickets are $10, or $7 for Cinematheque members and students. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu. FILM
Hidden Figures NASA’s Quynhgiao Nguyen hosts today’s special screening of Hidden Figures, the film about Katherine G. Johnson, Dorothy Vaughan and Mary Jackson, the three AfricanAmerican women who worked at NASA and helped launch astronaut John Glenn into orbit. It screens at 2 p.m. at the Cedar Lee Theatre as part of Cleveland Cinemas’ Reel Science series. Tickets are $8. (Niesel) 2163 Lee Rd., Cleveland Heights, 440-528-0355, clevelandcinemas.com. FILM
Mansfield 66/67 The late film star Jayne Mansfield was famous for portraying lascivious characters. In her storied film career — tragically cut short by her untimely death — she came off as a sluttier version of Marilyn Monroe. The new documentary Mansfield 66/67 examines her career and focuses on her relationship with Satanist Anton LeVay. The film shows tonight at 6:30 at the Cleveland Institute of Art Cinematheque. Tickets are $10, or $7 for Cinematheque members and students. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu. MUSIC
The University of Akron Steel Drum Band The University of Akron Steel Drum Band was formed in 1980, an era when only a handful of colleges had such ensembles. The group, which features both undergraduate and graduate students, plays on drums that local Cliff Alexis builds and maintains. For today’s performance at the Akron Civic Theatre, the group will play Caribbean music designed to help you “leave the winter blues behind.” The show starts at 2:30 p.m. and tickets are $12. (Niesel) 182 South Main St., Akron, 330-253-2488, akroncivic.com.
MON
01/29
FILM
The Chicago Bears, ’85: The Greatest Team in Football History The 1985 Chicago Bears may or may not have been one of the best NFL teams, but the documentary feature The Chicago Bears, ’85: The Greatest Team in Football History, does show just how dominant the team was. The film includes interviews with players Mike Singletary, Dan Hampton, Phil Simms and Dan Marino, as well as famous Chicagoans such as President Obama, Bill Murray and Jesse Jackson. It shows at 7:30 tonight at area theaters. Consult the Fathom Events website for more details. (Niesel) fathomevents.com.
TUE
01/30
MUSIC
ABBA Mania Claiming to be “the world’s number one touring ABBA production,” ABBA Mania hits the Akron Civic Theatre tonight at 7:30 for a show that promises to deliver all the cheesy Swedish pop band’s biggest hits. Expect to hear tunes such as “Mamma Mia,” “Voulez Vous,” “Dancing Queen,” “Winner Takes It All” and “Super Trouper.” Tickets are $40. (Niesel) 182 South Main St., Akron, 330-253-2488, akroncivic.com. DANCE
Dancing with the Stars Live! An all-new production that showcases “every type of ballroom and modern dance seen” on the hit show Dancing with the Stars, Dancing with the Stars Live! promises to include “sizzling group performances, romantic duets, contemporary numbers and original pieces created specifically for the nationwide tour.” The tour’s cast includes Lindsay Arnold, Alan Bersten, Sharna Burgess, Artem Chigvintsev, Valentin Chmerkovskiy, Hayley Erbert, Jenna Johnson, Keo Motsepe, Gleb Savchenko and Emma Slater. The show starts at 7 p.m. at the State Theatre, and tickets range from $47.50 to $75. (Niesel) 1519 Euclid Ave., 216-241-6000, playhousesquare.org.
9th Annual
MARDI GRAS Saturday, February 10, 2018 % 6:30pm – 11:00pm Windows On The River in the Powerhouse 2000 Sycamore Street, Cleveland, OH 44113 Join the North Coast Men’s Chorus for this night of music, merriment and masquerade that has become the signature event of the year! The event includes a performance by the North Coast Men’s Chorus, led by Artistic Director Richard Cole, superb Bourbon Street cuisine, a live and silent auction and a French Quarter Wall with a top prize of $500.
To make reservations or for more information, visit ncmchorus.org or call (216) 556-0590.
scene@clevescene.com t@clevelandscene
| clevescene.com | January 24 - 30, 2018
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STAGE A FEARSOME GOD IN A BARCALOUNGER Drone warfare destroys more than just its targets in Grounded at Dobama Theatre By Christine Howey BACK IN PRE-HISTORY, WHEN one caveman got pissed at another dude down the path, he could fashion a big club out of a tree branch and wave it at his enemy. Until, that is, the other guy found a bigger club carved from a tree trunk. As the human race has discovered, repeatedly, it’s hard to stay ahead in the deadly gamesmanship of war. And that doesn’t even touch on the personal toll exerted by such activities, which is examined in Grounded by Cleveland playwright George Brant, now at Dobama Theatre. This fascinating play, which first appeared in town at the Cleveland Play House New Ground Festival in 2014, has had a storied production history in the years since: There have been more than 100 domestic and international productions, plus an off- Broadway staging featuring film star Anne Hathaway in the starring role, directed by Julie ( The Lion King) Taymor. In this latest version, directed by Alice Reagan, the focus is on Brant’s incisive words, as there are precious few visual distractions on stage. The sole actor, Anjanette Hall as The Pilot (we never learn her real name), is placed by production designer Tesia Dugan Benson on an “X marks the spot” space delineated by intersecting jet runways. And it is there that she describes her evolution from kickass fighter pilot, in an actual plane, to flying drones over enemy territory from the safety of a Barcalounger in the Nevada desert. Yes, this is drone warfare, the video game sport weaponized to a terrifying degree by the American military. Why risk death or capture by flying over people you hate, when you can relax in some padded Naugahyde® and blast your human targets into tapioca from 8,000 miles away with the push of a button? The Pilot rejects the idea at first. But since she’s just found out she’s pregnant by her boyfriend Eric, she decides to climb out of the cockpit and join the “chair force.” Over time, she begins to see that the drone is a “gift,” as many people
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Photo by Steve Wagner
Anjanette Hall as The Pilot, in Dobama Theatre’s production of Grounded
tell her, since it allows her to come home from the war every evening where she can hug Eric and infant daughter Samantha. However, as she wryly notes, “What if Odysseus had returned for his supper each night, and brought the war to his family home?” As another Homer might say, “D’oh!” The insights generated by Brant’s words are frequent and intense. When The Pilot first sees a real drone, aptly named The Reaper, she notes how its nose cone looks like a sightless bird. Until, that is, she discovers that the underbelly of this creature is bristling with eyeballs: “The
of the piece when we are sharing The Pilot’s disappointments and new God-like powers from her unassailable perch in a windowless trailer on the air force base. However, the narrative goes a bit slack in the second half as the newness wears off, both for The Pilot and for us, and even her relentless tracking of one particular target doesn’t amp up the interest. As The Pilot, Hall brings a believable macho toughness to this female jet jockey who’s happy to get into a dick-measuring contest with anyone. And she makes her relationship with Eric and her
GROUNDED THROUGH FEB. 11 AT DOBAMA THEATRE, 2340 LEE RD., CLEVELAND HEIGHTS, 216-932-3396, DOBAMA.ORG
Gorgon Stare: Infrared, thermal, radar, laser — a thousand eyes staring at the ground.” By writing The Pilot’s monologue in crisp, poem-length phrases, Brant assembles a word mosaic with enough spaces between shiny tiles of her thoughts to allow the audience to provide their own connecting grout. This often works splendidly well, particularly in the first half
| clevescene.com | January 24 - 30, 2018
little girl Sam feel tender and true without becoming treacly. But over the course of the play, Hall’s refined ability to craft a credible human person almost works against the biological drone that her character is becoming. By circling over that faraway desert hour after hour, watching homes and bodies explode from her unseen attacks launched from a bright and sunny sky, The Pilot
is slowly extruded into a new form. She is an all-powerful death dealer, a Zeus in a prefab trailer. And as we see how that process impacts The Pilot and her family, we begin to sense what it is doing to all of us. For, of course, the play is about much more than just one person and her family. It is about us, sitting in front of our screens as our volunteer warriors — chair-bound and otherwise — fight in our name without us having to even give it a passing thought. We are safe, for now. But just like that caveman with the first club, how long will it be before our weapons are matched, as they always are? How long before our safety is decimated by unfriendly drones operated by hostile forces, from outside our country or from within? Even now, there are nerds buying drones online, no doubt figuring out how to deploy them for maximum comedic and/or tragic effect. These are the kind of thoughts a well-crafted play should inspire, and Brant’s Grounded does exactly that. Even with an ending that is a bit too emotionally pat, it leaves you with a gut wallop that you’ll feel for a while.
scene@clevescene.com t@christinehowey
MOVIES QUEER AS FOLK 9/11 road trip flick is a Once knockoff By Sam Allard DAVID HEINZ’S FILM, AMERICAN Folk, which screened at the Cleveland International Film Festival last year and opens Friday at Tower City, is a movie about “the kindness of strangers and the power of music,” themes you aren’t likely to forget or escape during your viewing. It can be thought of as a low-rent, domestic Once, and it sometimes feels less like a movie than a set of Instagram stories set to bluegrass standards. Our protagonists are Elliott and Joni, played by the real-life musicians Joe Purdy and Amber Rubarth. Both find themselves stranded in Los Angeles when their airplane returns to LAX for an emergency landing due to the 9/11 attacks. Both are wanted urgently in New York. Joni has been in L.A. for a wedding and needs to get back to an ailing mother. Elliott is a struggling musician and needs to get back for a gig. He’s been given a lastchance opportunity to play with a band known chiefly for their costumes. Joni’s aunt or family friend Scottie (Krisha Fairchild) lends these two woebegone late-twentysomethings — neither of whom appear to have any
luggage whatsoever, beyond Elliott’s acoustic guitar — a rusty old yellow tour van, complete with gear, to make the cross-country journey by road. “Do you really want to get on a plane right now?” Scottie asks, surveying the California sky. Premise thus established, Elliott and Joni traverse the United States, listening to George W. Bush and harried reports of the aftermath in New York City on the radio. Things are tense at first. Joni falls asleep somewhere in Arizona and Elliott, (who was also asleep!) asks to be dropped off. He says he’ll find an airport and take a plane. But then Joni emerges from a gas station bathroom to find Elliott serenely strumming “Red River Valley” in the back of the van. She approaches quietly and enters in perfect harmony for the second verse. (Scottie teased the fact that Joni had “the voice of an angel.”) Much like Once’s “Falling Slowly,”
this is their moment of connection. Elliott and Joni are then playing music or talking about music almost non-stop. The trip itself is inscribed with a new mission: to “bring back the folk,” as Joni says, which she interprets as enjoining Americans, during this time of tragedy, to sing together as they once did. Or something. It’s an earnest premise, but poorly rendered. Heinz is so eager to keep showing us “the kindness of strangers and the power of music” that every interaction is brimming with unbearable sap. At a gas station, Joni sees that the man working the register is either Latino or Arab. She regards him with suspicion. But lo! He sprints from the register as she’s leaving, telling her that she paid an extra dollar! And he gives her a free little American flag to boot! “From one American to another.” In the Arizona dunes, a haggard Vietnam vet named
Whitey recounts a weird story about a foiled assassination attempt on Pete Seeger and then literally repeats “the power of music” five or six times. What? It’s almost as bad as the movie’s worst and weirdest scene: a Tennessee breakfast with a hitchhiking lesbian’s parents, during which the hitchhiking lesbian comes out. When Joni leans to Elliott and says, “maybe we should leave,” we are all the father, who regards them with disgust and says: “You really should.” It’s a shame, because I would’ve been all about a folksy Once-style movie with the same exact premise, minus the post-9/11 togetherness moralizing. Purdy and Rubarth are vibrant musicians — better singers than actors, at any rate — and it would’ve been fun to hear more than fragments of two original songs.
sallard@clevescene.com t@scenesallard
SPOTLIGHT: EVERY EVERYTHING: THE MUSIC, LIFE & TIMES OF GRANT HART “ALL I KNOW IS THAT PEOPLE say I was influential,” says former Hüsker Dü drummer/songwriter Grant Hart near the beginning of the documentary Every Everything: The Music, Life & Times of Grant Hart. He’s not bragging but humbly acknowledging the significance of the Minneapolis-based hardcore/ post-punk band that’s revered for its aggressive style of playing. It’s a great moment in a film that chronicles the band’s remarkable story. The movie screens at 7 p.m. on Wednesday, Jan. 24, at the Rock & Roll Hall of Fame, and
director Gorman Bechard will be on hand for a Q&A that’ll take place after the screening. The movie commences by going back to the site of El Cheapo Records, the record shop where Hart and singer-guitarist Bob Mould first met. “This is where the partnership began,” says Hart, who died last year. “It was like the meeting of two gunfighters. He would bring his guitar, and I would bring my drums.” In March of 1979, the band officially formed with bassist Greg Norton. The impetus was a gig that would pay them $350. The group would issue its first single in 1981
and quickly become an underground sensation. Critics hailed the band’s 1984 effort Zen Arcade for the way it distilled the band’s harsher sensibilities and tempered them with introspective lyrics and accessible melodies. Hart says that when the band let the record label pick the singles from 1986’s Candy Apple Grey it was a sign that the guys were no longer in control of their music. “We all became corrupted by one thing or another,” he admits. The group would split in 1987, and Mould would have a successful solo career, and Hart would have a
less successful solo career. In the film, Hart compares himself to the French painter and writer Marcel Duchamp in the respect that he, like Duchamp, made one masterpiece and then simply experimented in its wake. Most of the film centers on recent interviews with Hart, who talks candidly about everything from his drug use to Hüsker Dü’s battles with its label, SST Records. But Bechard expertly mixes in archival concert footage, publicity images and old flyers to create a compassionate portrait of a talented guy who deserved a better life. — Jeff Niesel | clevescene.com | January 24 - 30, 2018
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| clevescene.com | January 24 - 30, 2018
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THE HOUSE THAT PIZZA (AND BOOKS) BUILT Crust’s new home in Tremont has everything you loved already and a whole lot more By Douglas Trattner IT’S NOT OFTEN THAT A restaurant gets a second bite at the apple, an opportunity to take everything it has gleaned over the years and roll it over into a new, hopefully improved, venture. But that’s precisely the break that the owners of Crust in Tremont found themselves on the receiving end of when Visible Voice Books owner Dave Ferrante purchased the Komorowski Funeral Home building on Professor Avenue. Ferrante’s ambitious plans for the three-level structure would include a rebirth of Visible Voice, whose original location had closed in 2014, with a sparkling 1,800-squarefoot bookshop on the upper level, and a similarly sized space on the main floor earmarked for his cousin, Mike Griffin, owner of Crust. It wasn’t the first time Ferrante played matchmaker for Griffin; it was he who first tipped off his relative about a former dry cleaners that he believed might make a great spot for his carry-out pizza concept. Griffin agreed and soon signed onto a space that, in hindsight, could have offered a little more space for the kitchen, perhaps, not to mention the nonexistent dining room. Modern amenities like air conditioning also would have been nice, but the quality of the pizza helped Crust overcome those liabilities and carve out a niche and name for itself in the highly competitive Tremont food scene. “Are you excited to finally enjoy a beer with your pizza?” Griffin
asked, rhetorically of course, when he excitedly shared the news of the move. The windfalls that came part and parcel of the new space, which officially opened this summer, didn’t end with cold beer; they merely start there. In addition to a draft beer system, the roomy bar offers wine, cocktails and seating for about 15, which already is thrice the capacity of the old haunt. That number
ever since Griffin and original chef Jeff Fisher launched the concept in 2012. The house-made, handtossed crusts have a modest rise, a pleasant chew and a delightfully crispy base from the deck ovens. Toppings are fresh and combinations contemporary, like the Finocchiona ($16, $18) with sliced fennel salami, smoked mozzarella, pecorino and rosemary. The Spanakopita is the pizza version of that popular Greek
CRUST 2258 PROFESSOR AVE. 216-583-0257 CRUSTTREMONT.COM
doesn’t include an additional 60 or so seats in the dining room, with more to come on the back patio. But the biggest bonanza for Crust fans arrived in the form of a 25-car parking lot, an anomaly in the dense urban neighborhood. That lot really comes in handy for those popping in to grab one of Crust’s famous one-pound slices ($4.50), topped ($1 apiece for a variety of options) and baked to order. Now, a diner might expect — even desire — more elaborate fare to go with the swankier digs, but that’s not the formula here. This is still the house that pizza built and pizza still is the main draw. With a name like Crust you anticipate a great base and that’s been the case
pastry, combining spinach, garlic, feta, mozzarella and lemon zest. Naturally, diners can build their own pies from a list that includes two crust styles and nearly three dozen toppers. Going the extra step to make and bake their own sub buns is another mark of distinction for this neighborhood darling. Priced between $9 and $11, the subs are meaty, well built and constructed with the same fresh ingredients. The Fried Chicken either lacked the promised hot sauce or it was in very short supply, but the sandwich was loaded with crispy fried white meat, cheese, lettuce and tomato. Other popular subs include a meatball, Italian and one equipped with hot
stuffed banana peppers. A utilitarian pasta menu gets the job done in efficient fashion. Diners plug and play from a succinct list of two pastas, three sauces, and four toppings. Supple housemade ricotta gnocchi ($12) in mushroom cream sauce beats out the penne ($8) with roasted tomato any day of the week. Meatballs ($3) aren’t at all browned but they’re flavorful. New for Crust is an appetizer section with dough-powered snacks like fried mozzarella bites ($6) and fried pepperoni bites ($7). If you’re getting pizza, we say skip the dough balls in favor of the burrata antipasto ($13). The lush, creamy cheese was buried in a bit too much balsamic dressing, and we would have expected some good bread to go with it, but the platter was outfitted with salumi, artichoke hearts and roasted red peppers. Pizza without beer is just sad and Crust does well in the draft beer department with notable entries from the likes of Four String, Heavy Seas, 3 Floyds and Rhinegeist joining bottled beers, a few wines and mixed drinks. Before leaving the property, head upstairs to Visible Voice Books to peruse the titles with a cup of coffee, glass of wine, or bottle of beer in hand. After all, if not for Visible Voice, there might be no Crust.
dtrattner@clevescene.com t@dougtrattner
| clevescene.com | January 24 - 30, 2018
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Photo courtesy Geraci’s Instagram
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| clevescene.com | January 24 - 30, 2018
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THE YEAR WAS 1956 WHEN Frances and Michael Geraci opened their eponymous Italian restaurant in University Heights. After five years they moved to their current location (2266 Warrensville Center Rd., 216-371-5643), where they have been feeding multiple generations of happy families for more than 60 years. Come spring, the iconic Italian eatery will open a second location, this one in the former home of XO Seafood & Oysters, which opened in 2014 as XO Prime Steaks and closed at the end of 2017. Taking shape in Executive Commons (29425 Chagrin Blvd.), across the street from Beechmont Country Club in Pepper Pike, the new location will offer management, staff and guests a number of amenities not present at the original shop. “One of the main reasons we went there was because of all of the things we don’t have here [in University Heights],” explains Greg Spoth, who runs the business with his wife Marti Geraci-Spoth and
three of their five children. “Despite being very busy, we have very little parking, never had a party room, there’s no place to sit with a drink while waiting for a pizza or table, here we have no patio, there we have a beautiful patio. I’m pretty excited about it.” When it opens in May, the interior will have a completely different look and feel from both XO and the original Geraci’s. Following some “pretty extensive remodeling,” the space should conjure the mood and spirit of a Tuscan cottage. There will be seating for 40 in the bar, another 75 in a pair of dining rooms, and an additional 50 on the front-side patio. A private dining room will be able to accommodate groups up to 50. As for the food, Spoth says, “If it’s not broken, don’t fix it.” Diners can look forward to an identical menu, with identical pricing, although the chefs likely will enjoy some liberty to offer weekend specials. And as for that nettlesome
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Photo courtesy Southern Tier Instagram
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| clevescene.com | January 24 - 30, 2018
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cash-only policy, in play since the Eisenhower administration, that will be scrapped in favor of a more progressive financial system. Spoth even confessed that the old spot might soon bow to public pressure and accept credit cards. After six decades in business, a restaurant builds up a deep well of goodwill, and the family is banking on that resource to propel them to success at the new location. “Another big reason we’re going out that way is that a lot of our clientele has moved out that way — to Pepper, Solon, Moreland Hills, Orange,” notes Spoth. “They still come down here once a month, but we’re hoping up there we might be able to get them once a week.” For those keeping track, Geraci’s will be the latest in a long line of restaurants that have occupied that spot, some with very short life spans. Ones that come to mind include Flo and Eddie’s, Il Davide, Gaylin’s Tavern and Marbella, not to mention XO and its successor. Admittedly, the history concerned the owners but, in the end, they felt that theirs was a name, brand and concept that transcended a “cursed” location. “The one worry was the stigma of the building not being a good location for restaurants over the years, but I think between our reputation and our food, we’ll overcome that,” Spoth asserts. “When you think about it, there are a lot of families with kids out there and there’s no family friendly Italian restaurants you can go to without breaking the bank. We’ve always been super kid friendly.”
Southern Tier Brewing to Open Brewery, Tasting Room in Downtown Cleveland Southern Tier Brewing is planning to open a brewery and tasting room in the Gateway District of Cleveland. The new venture will be taking shape at 811 Prospect Ave., the site of the short-lived restaurant concept 811, brought to us from the Red Restaurant Group. That building underwent significant improvements in advance of that opening. When it opens this spring, the brewery and tasting room will feature new Cleveland-brewed specialty beers along with the full
portfolio of Southern Tier seasonal and flagship beers, including barrel-aged products and sours. Also on tap is a lower-level barrelaging lounge. Southern Tier has been distributed in our region for nearly a decade, and the brewery says that we represent one of its largest and most loyal markets. “Cleveland is already one of the top craft-beer markets in the country,” notes Jason Edwards, senior vice president of Superior Beverage Group, the brand’s distributor. “We couldn’t be more excited to have a top-notch partner such as Southern Tier willing to make such a significant investment in our own backyard. Southern Tier’s emphasis on quality and innovation are certain to have a positive effect on the world-class craft beer foundation that Cleveland has been building for decades.” “Cleveland is only two hours from our flagship brewery,” adds Phin DeMink, founder and COO of Southern Tier. “Since we opened our doors, we’ve really appreciated the number of people from Cleveland who have visited us in Lakewood, [New York], so I couldn’t be happier to open a brewery there. The neighborhood is fun, has a lot going on, and it’s close to the Indians and Cavs. I can’t wait to get in there and start brewing really cool beer.” Southern Tier Brewing Company was founded in 2002 by Phin and Sara DeMink. Following several expansions, Southern Tier now ships over 100,000 barrels annually to 33 states.
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| clevescene.com | January 24 - 30, 2018
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| clevescene.com m | January 24 - 30, 2018
MUSIC MILLER’S TIME The Ben Miller Band continues its evolution with Choke Cherry Tree By Jeff Niesel SINGER-GUITARIST BEN Miller, who’s just issued a terrific new studio album, Choke Cherry Tree, listened to a wide range of music while growing up. His background undoubtedly contributed to the eclectic nature of his music. “I grew up in Washington State, but my dad is from Arkansas,” he says in a recent phone interview. The Ben Miller Band performs with Chicago Farmer at 8:30 p.m. on Thursday at the Beachland Tavern. “I got his records, and he had a lot of Southern music and mountain music. I was also influenced by my mom. She’s from Southern California. I’m halfway between Bob Dylan and Simon and Garfunkel on my mom’s side and my dad’s Southern culture.” Miller left home when he was 18 and moved to Philadelphia where he studied painting. Three years into that, he got a scholarship to go to Europe, and the traveling bug bit him. “I hooked up with friends of mine, and we got a van and drove all over the country,” he says via phone. “We wound up in Seattle, and my dad had a serious illness, so I went to Oklahoma to take care of him.” To make ends meet, he took a gig working at Walmart. While it paid the bills, it also threatened to suck the creative life out of him. “It wasn’t hard work, but it was busy work,” he says. “I learned I need to have something I’m moving toward. I started doing open mic nights and from there started running open mic nights. I realized I could make money by doing music as well as I could by stocking shelves. I decided to do that, and I haven’t looked back too much.” In 2010, Ben Miller Band made its debut with 1 Ton and then followed it up quickly with 2 Ton. “I just had so much material at that point,” Miller explains when asked about releasing two albums so close to one another. “The first record a musician makes, they have a whole lifetime to accumulate stuff. I wanted to flush everything out and have it down in some form, so it wasn’t stored in my brain
Photo by Carl Geers
as a maybe-later loop. I needed a cathartic closure. It was just a ton of music. It was too much for one CD, so we put it on two discs.”
seven or eight years,” says Miller when asked about how he met Powell. “His brother came to one of our shows and said Vance was
BEN MILLER BAND, CHICAGO FARMER 8:30 P.M. THURSDAY, JAN. 25, BEACHLAND TAVERN, 15711 WATERLOO RD., 216-383-1124. TICKETS: $12 ADV, $14 DOS, BEACHLANDBALLROOM.COM.
Because of a shared connection to Joplin, Missouri, the band teamed up with producer Vance Powell (Chris Stapleton, the White Stripes) for 2012’s Heavy Load and 2014’s Any Way, Shape or Form. “He’s from Joplin and I had lived there as a transplant for
in Nashville doing stuff with Jack White. It was right after a tornado had come through Joplin. We wanted to do something for a relief benefit. He helped with the project. We did a record for Joplin and gave money for local businesses that had gotten destroyed. That’s how we
started working together. We got along so well that we worked with him again, and he cut us a deal. That was our first time in an actual professional setup.” With its new album, the forthcoming Choke Cherry Tree, Ben Miller Band again defies categorization. “I had a bunch of songs from over the past two years that we cut down to 10,” says Miller. “I started diving in deep and hard about a year ago to see what would work. I think I did feel a pull toward a rhythmic sound, and there’s a simple-ness and a power to the music. I tend to think of things in terms of songs. | clevescene.com | January 24 - 30, 2018
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MUSIC
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| clevescene.com | January 24 - 30, 2018
Each song is its own thing. When I listen to music, I don’t think of genres or anything like that. I’m in love with the idea of a song. It’s like this unit or packet or idea. To me, that’s one of the most amazing things ever.” The album features a retooled Ben Miller Band lineup as new additions Rachel Ammons and Smilin’ Bob Lewis join Miller and fellow founding member Scott Leeper. Producer Chris Funk, a member of the Decemberists, helmed the project and brought guest players such as Jenny Conlee and Nate Query (also of the Decemberists) on board. The album also features the late saxophonist Ralph Carney (Tom Waits, Tin Huey), Dan Hunt of Neko Case’s band, Ural Thomas and Rev Shines of Lifesavas. The black-and-white music video for the album’s garage blues-tinged single, “Akira Kurosawa,” pays tribute to the famous Japanese director and includes snippets of images from his films. “The song was sort of inspired by my dad’s love of Akira Kurosawa’s movies,” says Miller. “My dad is from down in Arkansas, and he likes John Wayne and Akira. It struck me as a real non sequitur. I don’t know how that happened. I started watching some Kurosawa movies myself and got inspired by the visual aspect of what he would do in film. It developed from the perspective of an actor in the film. We went from there. It has a strong riff on it, and I got it to the point that I liked it, and it stuck.” Miller wrote the album’s opening number, the tender ballad “Nothing Gets Me Down,” when he was struggling to come up with song ideas. “I would write songs, but I didn’t believe the things I was writing,” he says. “I would look back to what I did, and I thought I was full of shit. I needed to get my feet back on the ground. It’s a good representation of how I felt at that time. I was trying not to hold anything sacred. There’s humor and sadness. A human has all these emotions at the same time, and I was feeling resilience. No matter what, I thought I would keep pushing until I got through the journey. I didn’t know how long the journey would be, but I knew I wouldn’t stop until I got there.” Accordion and banjo give “Trapeze,” a song that starts off “soft
and sweet” as Miller has put it, a whimsical feel. “I guess it was about a period of self-pity,” says Miller when asked about the song’s theme. “I generally don’t let myself fall into that sort of thing. It’s an analogy for the dangers of putting yourself out there in an artistic way. People might come to see you because they want to see you fail. That’s where the excitement comes from. I tell my band members that no one wants to come to the circus to see a tight rope walker stroll easily across the rope. They want to see them almost fall and then persevere. They then get the feeling that if they can do that, they can do that too. It’s like having the danger there is an important thing. It’s an analogy for performers in general.” The songs have such a rigorous, roots-y feel to them that they lend themselves well to the live setting. “Right now, we’re in the process of birthing these things live and experimenting with fine tuning what each person plays and the energy levels and how to go through a dynamic arc,” says Miller. “I love musicians like Nick Drake who come across so well on their albums. They’re so intimate. You can listen to the record on headphones and you feel so close to it. Recorded music can do that. But live, that gets lost in the room. With ‘Nothing Gets Me Down,’ we’ve turned into a country thing and it’s like a two-step. I keep my eyes on the audience and that non-verbal feedback you can pick up by watching their body language and attention. You can learn so much about what the audience is going to need from that song.” Miller’s music continues to be all over the musical map. While he once described it as “Ozark stomp,” he finds that doesn’t quite capture his musical range. “I thought [Ozark stomp] was a general enough thing, but it’s specific just enough,” he says. “I’m also not hemmed in by that. It’s a genre I made up. It doesn’t mean anything. I feel like the songs are moving away from that. I might have to make up another genre. It’s like, ‘What kind of music would you call the Beatles?’ I guess it’s rock, but they’re just songs. The song is its own genre.”
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| clevescene.com | January 24 - 30, 2018
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MUSIC A CAREER OVERVIEW Singer-guitarist Jonah Koslen to revisit back catalog, debut new material for Music Box By Jeff Niesel SINGER-GUITARIST JONAH Koslen first met fellow singerguitarist Michael Stanley in the 1970s through the late Marty Mooney, a local guy who worked as a regional rep for Columbia Records. Koslen, 22 at the time, was living in Denver, but he liked the prospect of moving back to Northeast Ohio to play with Stanley. It turned out to be the right decision as Koslen helped propel Stanley into a regional sensation. “It was very exciting,” says Koslen in a recent phone interview when asked about performing with Stanley in the ’70s. Koslen performs at 3 and 8:30 p.m. on Saturday, Jan. 27, at the Music Box Supper Club. “Michael had done two solo albums. We immediately went to Miami to record. I went from being a guy who had played in a folk duo to making a real record in a real studio and having the whole experience of going on the road. We worked really hard and went on the road all the time. Michael was very generous and let me write material for the band. I was excited to do that, and we’d work out the songs together.” MSB toured extensively in support of 1977’s Stagepass, performing with other up-andcoming acts such as Foreigner, Cheap Trick and Rush. “We were just starting out and we played with a lot of bands who were starting out at the time too,” says Koslen. “Our band was just starting to break.” But at that point, Koslen left the Michael Stanley Band and formed Breathless with bassist Bob Benjamin, drummer Kevin Valentine, percussionist Rodney Psyka, guitarist Alan Greene and keyboardist Mark Avsec. “I just wanted to lead my own band and go in a direction that I had in mind,” Koslen says when asked about the decision to leave MSB. “Breathless was an absolutely fabulous band that made two albums that I thought were really underrated. The band didn’t get nearly enough exposure. It was just a good band, and I was writing lots of material. We did those two
42
Photo courtesy of Al Kaston
albums, but I had another three albums’ worth of material. If that band had happened today, we would have done lots of albums.” Breathless songs such as the Journey-like “Takin’ It Back,” a tune with a gritty guitar riff and call-and-response vocals, certainly fared well next to what was on
Koslen formed Jonah Koslen and the Heroes and recorded two albums with that group before moving to Los Angeles, where he played with blues guitarist Bonnie Bramlett. “I also did some music for B-movies,” he says. “It was an interesting time. When I was playing with Bonnie, we would
THE MUSIC OF JONAH KOSLEN: THE HEROES, BREATHLESS, SOLO WORKS AND MSB FAVORITES 3 AND 8:30 P.M. SATURDAY, JAN. 27, MUSIC BOX SUPPER CLUB, 1148 MAIN AVE., 216-242-1250. TICKETS: $25 ADV, $30 DOS, MUSICBOXCLE.COM
commercial radio at the time. The band toured with Kiss and even headlined Blossom at one point. “You’d turn on the radio in Cleveland at the time, and you might hear three or four different Breathless songs,” he says. Breathless would disband in 1981. Avsec and Valentine would join Donnie Iris’ band the Cruisers, and
| clevescene.com | January 24 - 30, 2018
play the Coconut Teaszer on the Sunset Strip. The band that opened for us was called the Drunk Fux. They would just come in and play. That was right when the band was getting big.” In the early ’90s, Koslen reunited with Michael Stanley to help write and produce his Ghost Poets album. “It was great to work with
him again,” he says. “We did it at Beachwood Studios. It was right when digital recording was starting. We had a nice band. It was a good experience.” Up until the upcoming Music Box show, Koslen has been playing the MSB album Stagepass in its entirety. Now, however, he wants to draw from more of his back catalog. “This is the first time I’m paring that back,” he says. “I wasn’t covering any other material. I’m doing Breathless and things from my new CD. I will have a couple of guys from Breathless join me on stage, which will be wonderful and a treat for me and the audience too. It’s obvious at this point which songs to do. A lot of them haven’t been done in a while and they’re favorites. I have my favorites off the new record too. There are other ones too. We’re doing a song from my One Man Island Band album called ‘The Flip Flop Song’ and a couple of other things like that.” Koslen’s new album, Partially Light, shows off his singersongwriter side. He’s also issuing Jonah Koslen and the Heroes Agora Live, a recording of a WMMS Coffee Break concert from 1983 that contains live versions of classic MSB, Breathless and Heroes tunes. “That concert took place right after [the Heroes album] Aces came out,” he says. “The band was very hot. We did a great set at the Agora. After all this time, I thought it’s a nice representation of the Heroes material, and it also has some MSB material and Breathless material.” And what continues to motivate a man whose career stretches back 40 years? “I don’t want to seem too profound about it, but if you’re a musician, it’s in your blood,” he says, adding that it’s “always fabulous” to play Cleveland. “There’s a time when I used to write all the time and then infrequently. But even then, I would still wake up with song ideas. It’s just what you do.”
jniesel@clevescene.com scene@clevescene.com @clevelandscene t@jniesel
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| clevescene.com m | January 24 - 30, 2018
LIVEWIRE
all the live music you should see this week Photos by Sheryl Nields
WED
01/24
10 X 3 Singer Songwriter Showcase hosted by Brent Kirby: 8 p.m. Brothers Lounge. Charlie Ballantine: 7 p.m., $12. Bop Stop. Bluewater Kings Band: 8 p.m., free. Brothers Lounge. Nate LaPrarie/Jason Patrick Meyers/Jesse Huge: 8:30 p.m., $8. Beachland Tavern. Los Lobos: With the mantle of TexMex zydeco rock ’n’ roll gracing their legacy, Los Lobos have been infusing the American scene with a south-of-the-border flair for more than four decades. They’ve dropped many albums, including 2015’s Gates of Gold, which keeps pace with, for example, David Hidalgo’s head-nodding, rhythmic songwriting and the all-hands-ondeck knack for getting listeners dancing and thinking. Everything from the upbeat “Made to Break Your Heart” to the downtrodden “There I Go” is of a piece on this one, and one would do well to rewind a bit and revisit the band’s classics as well. (For my money, their best tune is the haunting “When the Circus Comes,” which details the pain and agony of a relationship fading into the ether.) (Eric Sandy) 7:30 p.m. Music Box Supper Club. Dizzy Reed and His Allstar Band/ Aquarocket/Rusty Soul Band/ The Junkies: 8 p.m., $20. Musica.
THU
01/25
Bassel & The Rafters/Ryan Manthey: 8:30 p.m., $6 ADV, $8 DOS. Grog Shop. Eagles Tribute by Hotel California: 7:30 p.m., $25 ADV, $28 DOS. Music Box Supper Club. Chris Hatton’s Musical Circus (in the Wine Bar): 8 p.m. Brothers Lounge. Hear for the Homeless with Wesley Bright & the Honeytones/Carlos Jones/Hiram-Maxim/Morgan Mecaskey/Jul Big Green/Dolfish: 7 p.m., $10. Beachland Ballroom. Jam Night with the Bad Boys of Blues: 9 p.m., free. Brothers Lounge. Anthony Lovano & the Supernatural Band (in the Supper Club): 7:30 p.m., $8. Music Box Supper Club. Ben Miller Band/Chicago Farmer:
Aimee Mann comes to the Music Box Supper Club. See: Sunday.
8:30 p.m., $12 ADV, $14 DOS. Beachland Tavern. Rainey/Halvorson/Laubrock: 8 p.m., $15. Bop Stop. Tessa Violet & Secret Midnight Press/Give Me Motion: 7:30 p.m., $15. Musica.
FRI
01/26
Breakfast Club: 9:30 p.m., $5. Brothers Lounge. Burnin’ Loins Album Release/ Manswerk/Sump Pump Sluts: 9 p.m., $5. Happy Dog. City Cop/Orca/Dark Spring/Iron Bison/Speedfreak (in the Locker Room): 8 p.m., $5. Mahall’s 20 Lanes. Cold City Band: 8 p.m., $12. Bop Stop. Harbour/Goldleaf/Joe Joyce Band: 9 p.m., free. The Euclid Tavern. Harmonia: 8:30 p.m., $20. Nighttown. Yoke Lore/Vita and the Wolf: 8 p.m., $10. Beachland Tavern. Motown and More with Nitebridge (in the Supper Club): 8 p.m., $10. Music Box Supper Club. Piano Happy Hour with Aaron Turkel of Part Time Lover: 6:30 p.m., free. Happy Dog. Thor Platter/Cory Grinder Band/ Cave Twins: 9 p.m., $8 ADV, $10 DOS. The Winchester. Gretchen Pleuss (in the Wine Bar): 8 p.m. Brothers Lounge. Saved by the ’90s: 8 p.m., $13. House of Blues. She Bears (10 Year Anniversary)/
Nights/Herzog/The Village Bicycle: 9 p.m., $10. Grog Shop. Moss Stanley: 10:30 p.m., free. Nighttown. Theo’s Loose Hinges/C-Level/Black Roads: 9 p.m., $4 ADV, $7 DOS. CODA. US Bombs/Craic-Henningway Hammers/The Velvematics: 6 p.m., $15-$20. Odeon. Zach Deputy/After Funk/Bypass Circuit: Known for his tangles of guitar melodies looping across themselves, Zach Deputy is that unique musician who comes off sounding like he’s actually several musicians in one body. His beachy guitar work blends into a melange of hip-hop beats, dancehall and neo-soul. Check out his Bandcamp page for live sets from the past few years; you’ll gather a sense that Deputy’s a fun-loving cat who laces his dedication to his instruments with wit and personal savvy. He has described his sound as “islandinfused drum ’n’ bass gospel ninja soul.” We like to think of it as the soundtrack to a backyard party where the steaks are rubbed with chief, and the sun shines oh-so warmly. (Sandy) 9 p.m., $12 ADV, 15 DOS. Beachland Ballroom.
SAT
01/27
The Bad Plus: 7 p.m., $30. 9:30 p.m., $25. Bop Stop. Candlebox: 8 p.m. Hard Rock Rocksino Northfield Park. Chikere Nuru / Free Peace Ohio /
Callmechrisg: Cleveland rapper Chikere Nuru, which means “created by God through light,” is a man who knows how to wield his words. In a current radio culture inundated with trap rappers barely opening their mouths, Nuru offers up lyrics at a mile a minute. Take for example his new single, “Little Better.” Here, the artist explores life and love through a variety of flow speeds and a sweet, grooving hook. Part of the music collective Kindred Klub, Chikere Nuru is certain to play the new track at tonight’s Grog Shop show. (Laura Morrison) 10:30 p.m., $10 ADV, $15 DOS. Grog Shop. Disco Paradiso with Geauga Lake/ Tooth/Hama/DJ Red I/Hivelike/ Adab/Glacial 23/Stout XTC: 9 p.m., $8. Now That’s Class. Johnny Elvis and the Crown Electrics/The George Martins: 8 p.m., $8 ADV, $10 DOS. The Winchester. Ray Flanagan & the Authorities Release Party: 9 p.m., $5. The Euclid Tavern. Art Garfunkel: 8 p.m. Canton Palace Theatre. The Hollywood Jets/Crash Coffin/ The Pallbearers: 9 p.m., $5. The Euclid Tavern. Kxng Crooked(Crooked I)/Platey/ Mushu Guru-MattoMatic: 6 p.m., $20-$25. Odeon. Mister Fabulous & the Bad Boiz/ Future Bummer/The Trades/ Semi Haunted Skatepark/Fresh Bucket (in the Locker Room): 7 p.m., $5. Mahall’s 20 Lanes. The Music of Jonah Koslen: The Heroes, Breathless, Solo Works and MSB Favorites/Alan Greene & Tom Odegard: 3 p.m., $25 ADV, $30 DOS. Music Box Supper Club. The Ragbirds/Sands & Hearn: 8 p.m., $13 ADV, $15 DOS. Beachland Tavern. Ruth B/ Hailey Knox: 7:30 p.m., $15. Grog Shop. The Schwartz Brothers/Chuck Hamilton Band: 8 p.m., $10. Beachland Ballroom. Sounds of Jazz Featuring Nancy Redd (in the Wine Bar): 8 p.m. Brothers Lounge. Uno Lady/Mourning [A] BLKstar/ Knowso: 9 p.m., $5. Happy Dog. Jackie Warren: 10:30 p.m., free. Nighttown. Stevie Wonder Tribute with the Reid Project (in the Supper Club): 8 p.m., $8 ADV, $10 DOS. Music Box Supper Club. | clevescene.com | January 24 - 30, 2018
45
LIVEWIRE World Zen’d: 9:30 p.m., $5. Brothers Lounge.
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5:00-10:00
01/28
The Bad Plus: 7 p.m., $30. 9:30 p.m., $25. Bop Stop. Aimee Mann/Jonathon Coulton: Aimee Mann’s long legacy as a singer and songwriter includes a stint with the alternative group ’Til Tuesday, a respectable solo career, and an album and tour with the Both, a band that features fellow singer-songwriter Ted Leo. The brainy Mann comes to town tonight in support of last year’s Mental Illness, a melancholy set of songs that opens with the plaintive “Goose Snow Coneâ€? and stays within the same minor-key register as Mann brings strings and piano into the mix to esh out the ornate tunes. (Jeff Niesel) 7:30 p.m., $48 ADV, $55 DOS. Music Box Supper Club. Mike Petrone: 5:30 p.m. Brothers Lounge. The Skull (performing the 1990 Def American classic “Troubleâ€? in its entirety)/Gluttons/ Black Death Resurrected/Monastery: 8:30 p.m., $15 ADV, $18 DOS. Grog Shop. X X/Jim Davis/Real Regular/Mateo Manic: 8 p.m., $10. Now That’s Class.
MON
THE SPAZMATICS
SATURDAY, JANUARY 27 9:30PM
CARLOS JONES & THE P.L.U.S BAND
01/29
Skatch Anderssen Big Band: 8 p.m., $7. Brothers Lounge. Moon King/Key to the Mint/ Kiernan Paradise (in the Locker Room): 8:30 p.m., $8 ADV, $10 DOS. Mahall’s 20 Lanes. Shit Show Karaoke: 10 p.m. B-Side Liquor Lounge & Arcade. Velvet Voyage (in the Wine Bar): 8 p.m. Brothers Lounge.
TUE
FRIDAY, JANUARY 26 8:30PM
01/30
FRIDAY, FEBRUARY 2 8:00PM
MOISES BORGES & KENNY DAVIS A Mixture Of Bossa Nova Jazz & Samba SATURDAY, FEBRUARY 3 8:00PM
Blues Traveler: 30th Anniversary Tour: 7 p.m. House of Blues. Looming/Pale Lungs/Youth Pallet/ Skuff Micksun/Ulysses: 7 p.m., $10. Mahall’s 20 Lanes. Erin Nicole & the Chill Factor (in the Wine Bar): 8 p.m. Brothers Lounge.
scene@clevescene.com t@clevelandscene
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YOKE LORE MEET THE BAND: Adrian Galvin (guitar,
vocals) ALL PART OF HIS UPBRINGING: Yoke Lore
singer-guitarist Galvin grew up in upstate New York. Because his parents were artists who were very dedicated to teaching their kids about art, he took dance and painting classes. “We had Hebrew school at my house, and there were people singing the Shabbat prayers every week,” he says. “On vacations, we would stop at the art museums in every city. It was part of our whole upbringing. Music became an outcropping of that.” Galvin originally began playing drums and then hooked up with the guys in the indie rock outfit Walk the Moon. He collaborated with them on their debut album before starting his own indie band, Yellerkin. When Yellerkin dissolved, he turned his attention to Yoke Lore. “As Yellerkin fell apart, I had a week where I was wallowing in my sorrow,” says Galvin. “One of the labels that was going to do the American distribution hit me up and asked if I had any new music. I said, ‘No, but I could make some.’ They told me to go do that and it became [Yoke Lore’s debut] Far Shore.”
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WHY YOU SHOULD HEAR HIM: Goodpain
commences with the title track, a song that features upper register vocals and shimmering synthesizers. For the live show, Galvin says he plays with a drummer. “It’s easier having less people, and it’s more focused,” he says. “I think that because it’s a solo project, I want to keep as much of it me. I know that sounds super controlling. But it’s what this project is about for me. It’s about indulging in my instincts. People have laptops on stage, and I really find that unattractive. I work hard with samples and loops and triggers to stay really involved in the playing of it. I also have enough elements, so it feels like a full experience.” WHERE YOU CAN HEAR HIM: yokelore.com
FEELING THE GOODPAIN : Galvin says he
didn’t necessary try to do anything differently with his latest EP, last year’s Goodpain. “I just try to follow the line of the song or the motif of the song,” he says. “I try to keep it honest, I guess. I have definite proclivities. I gravitate to the heavy vocals and textured
KentStage The
drums and minimal synths. I feel like my life is a practice of ‘good pain.’ I have this perspective that you need to go through periods of struggle to illuminate the periods of grace. I think there was a bit of this project being my good pain. On a more specific level, I think being an artist and doing this is struggle, and a big part is rejection and failure. It’s a big mistake if you don’t recognize the value in that failure.”
WHERE YOU CAN SEE HIM: Yoke Lore
performs with Vita and the Woolf at 8 p.m. on Friday, Jan. 26, at the Beachland Tavern. — Jeff Niesel
jniesel@clevescene.com scene@clevescene.com @clevelandscene t@jniesel
Hard Day’s Night
Uriah Heep
Texas Troubadours
The Dixie Dreggs
Shelby Lynne
Sat., Feb. 24
Thu., March 1
No Sleep Podcast
Dawn of the Dreggs Tour
Sat., Mar. 10
Fri., Mar. 23
Sun., Mar. 4
Sat., Feb.24
JUST ANNOUNCED
Sunday April 22 ALL SHOWS AT THE KENT STAGE UNLESS OTHERWISE NOTED Tickets available at www.kentstage.org or 877-987-6487 GMK [w cw i {{ © a{ B e~ JJHJF | clevescene.com | January 24 - 30, 2018
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| clevescene.com | January 24 - 30, 2018
OVERCOMING AN ILLNESS A Northeast Ohio native, Devil Doll launches a campaign to fund her new studio album By Jeff Niesel
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AN OLD BROOKLYN NATIVE, singer-songwriter Colleen Duffy has toured as the rockabilly act Devil Doll for the past 20 years. Duffy attended Case Western Reserve University and was the first female rockabilly/psychobilly radio show host at WRUW. She also started the distribution company Hep Cat Records. She moved to New York in the mid-’90s and had a deal with Epic Records, and then moved to Los Angeles in the late-’90s and recorded an “expensive record” for Geffen Records. When Universal bought Geffen, her record got lost in the shuffle (but she wound up self-releasing it). All the time, she continued to tour and record and develop a fanbase both in the States and overseas. Unfortunately, due to a recent illness, Duffy had to stop touring and return to Cleveland for treatment. She’s been diagnosed with a connective tissue disorder called Ehlers-Dalos Syndrome, or EDS. “It has been a hellish past three years,” she says. Due to the extra money that came in from her medical expense fund, she could afford to seek unconventional treatments and resources. Because of that, she is finally recovering and plans to record her first studio album in more than 10 years. She has launched an IndieGoGo crowdfunding campaign to help with recording expenses. The campaign ends on Feb. 1. “This is very new to me, and I find it stressful,” she says of the campaign that features a number of different donation tiers that include different merch bundles. “It’s a beautiful thing to be accessible to your fans in that way and have that interactive experience. It’s not like the days when you could wait for the record label to show up as your knight in shining armor.” Returning to Cleveland has been a real blessing for Duffy. She’s not
Photo credit: Shannon Brooke
Colleen Duffy has toured and recorded as Devil Doll for the past 20 years.
only recovering from her illness, but she has also rekindled her affection for the region. “I would never be in this stage of recovery if I hadn’t returned to Cleveland,” she says. “We are really lucky to have all the medical resources we have in this community. I would really like to stay here in Cleveland and just go to Los Angeles for work in the future. Cleveland is pretty cool, and Los Angeles might be huge with all kinds of events, shows, galleries and a killer fabric/jewelry district, but it certainly doesn’t have everything, and it definitely doesn’t have the Cleveland Museum of Art. Oh, and Clevelanders are way funnier than people in Southern California. We are fucking hilarious.” Duffy, who says she’s not sure she’ll ever be able to tour again, has connected with the director of the EDS Society and hopes to start working with the organization to help raise awareness of the disease.
jniesel@clevescene.com t@ jniesel
SAVAGE LOVE MOTHER LOVE by Dan Savage My father left my mother abruptly when I was 14, and he hasn’t contacted either of us since. It was a crushing blow for her, and she retreated from the world. We were extremely close for the next four years and actually slept in the same bed every night. Eventually, we began doing something that most people would consider evil but neither of us has ever regretted. And it wasn’t something that just happened once — it went on for two years and ended only when I left to go to university. She has since remarried and seems perfectly fine. But even today, we sometimes send each other friendly messages that are vaguely suggestive. I mentioned it to my wife recently and she went ballistic. She called me and my mother sick and moved into another bedroom and refuses to have sex with me. I wish I had never mentioned it, but it was part of a truth-or-dare session we were having. This has been the situation for the last three months. I have finally lost my patience. I have mentioned going to a counselor, but she refuses and claims that she is married to a monster and that no woman would want me. We don’t have any children — so if I were to leave, I wouldn’t be disrupting an innocent’s life. Do you have any advice? Truthful Revelation Unmakes Two Happy Spouses I’m not a professional counselor, TRUTHS, but I’m gonna climb out on a limb and say that a game of truth or dare isn’t the right time to reveal an incestuous sexual relationship with a parent. Dr. Hani Miletski and Dr. Joe Kort, on the other hand, are professionals: Dr. Miletski is a psychotherapist and a sex therapist, and Dr. Kort is a sex and relationship therapist. Both are certified by the American Association of Sexuality Educators,Counselors,andTherapists, and both are authors — Dr. Miletski literally wrote the book on the subject of mother-son incest: Mother-Son Incest: The Unthinkable Broken Taboo Persists. Dr. Miletski told me it isn’t uncommon for a woman who has been abandoned by her husband to turn to an adolescent son for emotional comfort. “These women are often very insecure and needy,” said Dr. Miletski.
“Unbeknownst to the son — and sometimes to the mother — the son begins to feel responsible for his mother’s well-being and emotional support. The son becomes ‘parentified’ and is treated by his mother as a substitute husband. Occasionally, this close relationship between a mother and her son evolves into a sexual relationship, and the substitute husband becomes her lover as well. The situation described in this letter sounds exactly like that. And while I’m glad this man believes he has not been affected by this boundary violation, [the fact that he and his mother are] sending suggestive messages to each other may suggest otherwise.” You say you have no regrets, and you don’t mention feeling traumatized by the experience, but the absence of trauma doesn’t confer some sort of retroactive, after-the-fact immunity on your mother. She is responsible for her actions — actions that were abusive and highly likely to leave you traumatized. “In the mental-health field, we have a growing body of work showing that not everyone who is abused is necessarily traumatized,” said Dr. Kort. “But his mother seduced him, dismissing the sexual and emotional needs of a teenage boy. There is no other way to describe this other than abuse, however consensual he may have perceived it to be at the time.” But that was then, TRUTHS. What do you do about your situation now? “Unfortunately, I don’t think his wife will ever be able to put this revelation behind her,” said Dr. Miletski. “I think his best bet is to leave her, move on, and seek therapy.” Dr. Kort sees some hope — albeit slim — for your marriage. “To gain empathy and compassion from his wife, TRUTHS should be willing to listen to her concerns, fear, and anger,” said Dr. Kort. “He also needs to invite her to have compassion and empathy for the vulnerable position he was in — but he cannot do that until he has some compassion for himself. Perhaps if he ever has children, the reality of the abuse will hit him. Parents don’t have children to turn them into lovers.”
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'//$ #2%$)4 s "!$ #2%$)4 s "!.+2504#9 | clevescene.com | January 24 - 30, 2018
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